4 x 10 eastern avant-garde orbit

4 X 10 EASTERN AVANT-GARDE ORBIT
DIGITAL DELIGHTS | LIST NO. 2, DECEMBER 2016
Dear clients, colleagues and friends,
I am hereby glad to present my new short list »Digital Delights«, edition no. 2.
The following 52 pages contain four chapters with 40 new arrivals as well as carefully
selected items from my stock related to the Eastern European Avant-Garde orbit. 10
illustrated books, magazines and/or ephemera each created by major proponents of
Latvian, Bulgarian, Czech and Yugoslavian avant-garde movements from the 1920s and
1930s are waiting to be discovered by you.
Starting with the astonishingly rich activities of the »Riga activists« in Latvia the presented
orbit crosses Europe from the Northeastern to the Southeastern hemisphere to pass
Bulgaria and it's short lifted but nevertheless fervent modernist scene around Geo Milev
(Please also consider my monography »Bulgarian Modernism. Books and Magazines
1919-1934« still available in my webshop). Heading north again the Czech movement and
it's specifically versatile design culture are to be browsed, whereas the last point of this
journey finally is to be found in the Balkans: Nadrealizam is the keyword here.
So, please enjoy browsing, watching and reading, and of course I am very much looking
forward to your feedback and orders.
Yours,
4 X 10 EASTERN AVANT-GARDE ORBIT
DIGITAL DELIGHTS | LIST NO. 2, DECEMBER 2016
1 X 10 BALTIC
1
DOMAS [Thought]. Daiļliterātūras, mākslas un zinātnes mēnešraksts [Monthly review for
literature, arts and science]. 8th year, no. 1 (1931). Lino-cut cover design, vignettes and
typography by Niklavs STRUNKE. Rīga: Literātu biedriba Domas (Pipiṇ a un Upmaṇ a)
1931. 24,5:17 cm, [1 Bl., frontispiece], 1-86, [1], [9, advertisements] pp. Original sewn
publisher's wrappers with black and brown lino-cut cover illustration and title on grey stock.
1
Issue no. 1 of 12 of this 8th year of »Domas«, a particularly important Latvian modernist
magazine, containing contributions by mostly left-wing artists, writers, scientists and
politicians. »Domas« was published between 1924 and 1934 in 10 issues each year (year
8 (1931) in 12 issues; year 11 (1934) in 4). – This issue contains a frontispiece on glossy
paper after a painting by Jānis Liepiņš, one caricature by Sigismunds Vidbergs and two lino-cuts
by Ernests Akolovs and Adja Junkerss (or Adja Yunkers), who after 1945 became an important
abstract painter in the US and had also contributed already illustrations to the avant-garde
magazine »Signals« (1928-30). Akolovs and Junkerss had also contributed already illustrations to
the avant-garde magazine »Signals« (1928-30). Akolovs and Junkerss were all students at the art
class of the Riga adult education center (RTA), a centre for progressive artists of those days lead
by Vidbergs and Romans Suta. - Furthermore this issue has among others text contributions by
Latvian avant-garde poet Kārlis Dziļleja, who also signed as editor in chief.
Bottom of spine with one very small tear, lower part of front cover slightly creased, binding in parts
loose, paper slightly time-stained, otherwise well preserved copy of this rare item, like all other
issues of this year with two-coloured constructivist covers by Niklavs Strunke, who also contributed
progressive typography and vignettes. „For a brief period at the end of its publication (1931/1932),
»Domas« covers were typographically bold with late-constructivist imagery in flat color, exhibiting a
diffuse tie to contemporary European vanguard design movements.“ (Fraser)
Apart from one copy at the Latvian National Library only two copies of this issue at Stabi Berlin and
Herder-Institut Lahn are known according to OCLC and KVK. Furthermore only BSB, IISG, NYPL
and the Herder-Institut Lahn have copies of other issues of this magazine.
Fraser: Publishing and Book Design in Latvia 1919-1940, 2014, p. 136, L305 and p. 235
€ 340
2
DOMAS [Thought]. Daiļliterātūras, mākslas un zinātnes mēnešraksts [Monthly review for
literature, arts and science]. 8th year, no. 4 (1931). Lino-cut cover design, vignettes and
typography by Niklavs STRUNKE. Rīga: Literātu biedriba Domas (Pipiṇ a un Upmaṇ a)
1931. 24,5:17 cm, [1 Bl., frontispiece], 257-335, [1,], [4, advertisements] pp. Original sewn
publisher's wrappers with red and brown lino-cut cover illustration and title on cream stock.
Issue no. 4 of 12 of this 8th year of »Domas«. – This issue contains a frontispiece on glossy paper
after a painting by V. Piesis, one wood-cut by Kārlis Bušs and two lino-cuts by Junkerss. Piesis,
Bušs and Junkerss were all students at the RTA. - Furthermore this issue contains among others
texts by Latvian avant-garde poet Kārlis Dziļleja, who also signed as editor in chief.
Bottom of spine with one small fault, cover with two little ink stains, paper slightly time-stained,
otherwise fine copy of this rare item, like all other issues of this year with two-coloured
constructivist covers by Niklavs Strunke, who also contributed progressive typography and
vignettes.
Apart from one copy at the Latvian National Library only two copies of this issue at Stabi Berlin and
Herder-Institut Lahn are known according to OCLC and KVK. Furthermore only BSB, IISG, NYPL
and the Herder-Institut Lahn have copies of other issues of this magazine.
Fraser: Publishing and Book Design in Latvia 1919-1940, 2014, p. 136, see L305 (issue no. 1
(1931) and p. 235.
€ 340
3
DOMAS [Thought]. Daiļliterātūras, mākslas un zinātnes mēnešraksts [Monthly review for
literature, arts and science]. 8th year, no. 5 (1931). Lino-cut cover design, vignettes and
typography by Niklavs STRUNKE. Rīga: Literātu biedriba Domas 1931. 24,5:17 cm, [1 Bl.,
frontispiece], 337-415, [1] pp. Original sewn publisher's wrappers with grey and bright blue
lino-cut cover illustration and title on grey stock.
Issue no. 5 of 12 of this 8th year of »Domas«. – This issue contains a frontispiece on glossy paper
after a constructivist painting by Voldemar Siliņš and two lino-cuts by Junkerss. Siliņš also was
among the students at the RTA. - Furthermore this issue has among others text contributions by
Latvian avant-garde poet Kārlis Dziļleja, who also signed as editor in chief.
Top and bottom of spine with small tears, paper slightly time-stained, otherwise well preserved
copy of this rare item, like all other issues of this year with two-coloured constructivist covers by
Niklavs Strunke, who also contributed progressive typography and vignettes.
Apart from one copy at the Latvian National Library only two copies of this issue at Stabi Berlin and
Herder-Institut Lahn are known according to OCLC and KVK. Furthermore only BSB, IISG, NYPL
and the Herder-Institut Lahn have copies of other issues of this magazine.
Fraser: Publishing and Book Design in Latvia 1919-1940, 2014, p. 136 (see L305) and p. 235.
€ 340
4
DOMAS [Thought]. Daiļliterātūras, mākslas un zinātnes mēnešraksts [Monthly review for
literature, arts and science]. 9th year, no. 5 (1932). Lino-cut cover design by Kārlis BUŠS.
Ed. by Roberts Hermanis-Sēlis. Rīga: Literātu biedriba Domas (Riti) 1932. 24,5:17 cm, [1],
322-384, [16, table of contents for issues no. 1-5 (1932), advertisements] pp. Original
sewn publisher's wrappers with red and black lino-cut cover illustration and title on white
stock.
Issue no. 5 of 10 of this 9th year of »Domas«. - This issue contains four remarkable lino-cuts by
Junkerss. Furthermore this issue contains among others texts by Latvian avant-garde poets
Aleksandrs Čaks und Kārlis Dziļleja.
Spine with one small foxy spot, last part with small water-stains in the lower right corner, paper
slightly time-stained, otherwise fine copy of this rare item. Like for all other issues of this year Kārlis
Bušs created a two-coloured constructivist cover design.
Apart from one copy in the Latvian National Library only one copy of this issue at Stabi Berlin is
known according to OCLC and KVK. Furthermore only BSB, IISG, NYPL and the Herder-Institut
Lahn have copies of this magazine.
Fraser: Publishing and Book Design in Latvia 1919-1940, 2014, p. 136, see L306 (issue no. 3
(1932)
€ 280
5
KURCIJS, Andrejs: Dvēseles Karabejs. Dzejas [Cabaret Soul. Poems]. Lino-cut cover
design by Niklavs STRUNKE (unattributed). Rīga: »Kulturas Bals« Izdevums [»Voice of
Culture« Editiors] (Deenas) 1921. 12,3:18 cm, 47 [3] p. Original publisher's stapled
brochure with cover illustration and title in black on cream stock.
First Edition of this collection of poems by Andrejs Kurcijs (i.e. Andrejs Kursiskis), experimental
poet and prose writer, literary and art critic and leftist politician. Kurjics was a key member of the
»Rīga Activist«, the most remarkable Latvian avant-garde movement of the 1920ies. The striking
cover design, strong in composition and expressionist manner of typography and illustrative
elements, was created by Niklavs Strunke, also member of the Rīga group. Strunke probably was
the most productive and influential of all Latvian avant-garde artists, mainly preoccupied with
expressionism and later constructivism. Although the designer of this cover is not attributed in the
colophon, the style is typical for Strunke, who created a number of similar works for »Kulturas
Balss« and other editors during those years.
Rear side of rear cover with two bookseller's stamps, title page with former owner’s remark, paper
slightly time-stained, generally a fine copy of this very rare item indee. OCLC locates only one copy
worldwide in Columbia University, Latvian National Library in Rigā a 2nd one.
Bernett, Latvian Avant-Garde, pos. 10; unknown to Fraser, but see pos. L322 for a similar example
of Strunkes stye.
€ 540
6
ŠVĀBE, Arveds: Gong-Gong. Tankas. Cover design and 15 full-paged illustrations based
on ink drawings by Sigismunds VIDBERGS. Rīga: Vaiņags 1922. 11,3:14,1 cm, 64 [2] p.
Original stapled wrappers with black decorative title printing on white stock.
First edition (2nd was published in 1989) of this cycle of short poems by Latvian modernist writer
and editor Arveds Švābe, inspired by Tanka (短歌), a genre of classical Japanese poetry. The little
booklet is elaborately designed and richly illustrated by Sigismunds Vidbergs, member of the »Rīga
Activist«, the most notorious Latvian avant-garde movement around writers like Linards Lāicens
and Andrejs Kurcijs as well as artists like Niklavs Strunke. „One might easily pass over the
unassuming cover … but the illustrations by Vidbergs convey a sophistication looking beyond the
problems of the day … (Fraser).
Cover in parts slightly foxy and with some minor stains, otherwise well preserved copy of this
scarce item. OCLC and KVK show only three copies worldwide at Stabi Berlin, BSB and Columbia
University. Latvian National Library also has a holding.
Fraser, p. 65, L87-90 (5 illustr.); Bernett: Latvian Avant-Garde, no. 22.
€ 380
7
TALCIS, Adolfs: Dumpīga grāmata. Stasti un feletoni [The Rebellious Book. Stories and
Feuilletons]. 18 plates with lino-cut illustrations and presumably also typographic lino-cut
cover design by Adolfs GIRDVOINS. Rīga: Nākotnes kultūra (Riti) 1931. 8°. 111, [1] p.
Original publisher's wrappers with red typographic lino-cut cover illustration and title on
cream stock.
First edition of this compilation with prose writings by Marxist writer Adolfs Talcis, in which „Talcis
is at his vitriolic best in tirades against the established church, corrupt civil servants, crooked
politicians, ant other targets appealing to a left-oriented reader“. (Fraser, p. 142). The volume is
illustrated with a set of 18 striking full-paged lino-cuts by Adolfs Girdvoins, also studen at the RTA.
„One might wonder if Girdvoins, or whoever designed the cover, had drawn inspiration from the
design for Maykovsky's „Stikhi o Revoliutsiy (Poems on Revolution), published seven years earlier
and likely circulated in Riga.“ (Fraser, p. 122) Talcis also was part of the editorial staff of the avantgarde magazine »Signals« (1928-30) where he closely collaborated with Girvoinds, who acted as
one of it's illustrators.
Apart from one copy at the Latvian National Library only three copies of this book are known
according to OCLC and KVK, at BSB, Columbia UL and NYPL. Furthermore only BSB, IISG, NYPL
and the Herder-Institut Lahn have copies of other issues of this magazine.
Top of spine with a small fault, rear side of cover with little whole, paper time stained, otherwise
fine copy of this item.
Fraser: Publishing and Book Design in Latvia 1919-1940, 2014, p. 133, 135 and p. 141f. (L317 and
L318).
€ 280
8
TRIBĪNE [The Tribune]. Revolucionārās kultūras žurnāls [Revolutionary Cultural Journal].
Published by Linards Lāicens. Edited by Jānis Bušs. 1st year, no. 2 (Aug. 1931). Lino-cut
cover design by Ernest KĀĻIS. Rigā: Latvju Kultura 1931. 15,3:23 cm. 47 [1] pp. Original
stapled publisher’s wrapper with black linocut cover illustration and title on cream stock.
Issue no. 2 of this 1st year of »Tribīne«, one of the most influential Latvian communist avant-garde
magazines. »Tribīne« was published between 1931 and 1933 in a total of 12 issues (1st year: nos.
1-4, 5/6; 2nd year: nos. 1-4; 3rd year, no. 1-2). The magazine was repeatedly confiscated, it’s first
chief editor, Jānis Bušs, went to prison. Preceded issue contains text contributions by Anri Barbiss,
Maksim Gorkiy, Anna Pūķis, Ludvigs Renns, Pēteris Zars and other authors signing with
monograms, pseudonyms or not at all, to prevent troubles with the authorities. Alongside the
confiscation of the latest two issues in July 1933, publisher Lāicens had to flee Latvia and settled in
the Soviet Union, where he felt prey to the Stalinist political cleansing in 1938. The cover of this
volume incorporates a striking constructivist lino-cut by Latvian and Soviet avant-garde artist
Ernest Kāļis. Kāļis, who used this design for covers all issues of »Tribīne« (except year 3, nos. 1
and 2), hereby created a clear but nevertheless autonomous reference to Lajos Kassák’s
»Bildarchitektur«.
Paper slightly time-stained, otherwise very well preserved copy of this fragile and particularly rare
magazine. OCLC and KVK shows only one holding of this issue worldwide at Waseda UL, though
there is also one in possession of the Latvian National Library. MOMA, The Frick Art Reference
Libary (New York) and Waseda UL have further copies of issues nos. 1 (1931) and/or 2,3 and 5/6
(1932).
Fraser: Publishing and Book Design in Latvia 1919-1940, 2014, p. 126f.
€ 340
9
TRIBĪNE [The Tribune]. Revolucionārās kultūras žurnāls [Revolutionary Cultural Journal].
Edited by Jānis Bušs. 2nd year, no. 4 (Aug. 1932). Lino-cut cover design and frontispiece
with photomontage by Ernest KĀĻIS. Rīga: Latvju Kultura 1932. 15,3:23 cm. 47 [1] pp.
Original stapled publisher’s wrapper with black linocut cover illustration and title on cream
stock.
Issue no. 4 of this 2nd year of »Tribīne«. Preceded issue contains text contributions by Linards
Lāicens, Emīls Fross and Pēteris Zars. Other authors were signing with monograms, pseudonyms
or not at all. As far as illustrations are concerned, this volume contains a striking title-page showing
a photomontage by Latvian and Soviet avant-garde artist Ernest Kāļis. Kāļis also designed the
cover of all issues of »Tribīne« (except year 3, nos. 1 and 2) and his striking constructivist lino-cut
transports a clear but nevertheless autonomous reference to Lajos Kassák’s »Bildarchitektur«.
Paper time-stained, front cover and first 3 leafs with one small tear, otherwise fine copy of this
fragile and particularly rare magazine. OCLC and KVK show no holdings of this issue worldwide,
though there is one in possession of the Latvian national library. MOMA, The Frick Art Reference
Libary (New York) and Waseda UL only have copies of issues nos. 1 and 2 (1931) and/or 2,3 and
5/6 (1932).
Fraser: Publishing and Book Design in Latvia 1919-1940, 2014, p. 126f.
€ 440
10
VĪLIPS, Pāvils: Tragiska poema. Ar prologu un epilogu veltita lellem. [Tragic poem.
With prologue and epilogue, dedicated to the puppets.] Cover illustration and 4 fullpaged illustrations (one repeated on the cover) as well as two vignettes based on
ink drawings by Sigismunds VIDBERGS. Rīga: Autora izdevums [edited by the
author] 1929. 12:18,6 cm, 45 [3] p. Original illustrated wrappers with black printing
on cream stock.
First and only edition of this collection of poems by social-democratic author Pāvils Vīlips, poet,
translator (e.g. Mayakovsky) and member of the »Rīga Activist«, the most notorious Latvian avantgarde movement around writers like Linards Lāicens and Andrejs Kurcijs as well as artists like
Niklavs Strunke and Sigismunds Vidbergs, who illustrated Vilip’s poems with constructivist spirit as
well decorative talent and remarkable craftsmanship, and was also responsible for the overall
graphic design of this edition. A rare item indeed, self-published by Vīlips in this therefore probably
small but unstated edition. I could trace only 6 copies worldwide, OCLC and KVK show copies at
Yale, Columbia, New York Public Library, Stabi Berlin and British Libray. Latvian National Library
also has a holding.
Apart from hardly recognizable sun-wearing on the front cover this copy is uncut and therefore in
outstanding condition.
Unknown to Fraser; Bernett: Latvian Avant-Garde, no. 26 (wrongly mentions lithographies);
Vloemans: cat. 39, 2014, no. 77
€ 380
4 X 10 EASTERN AVANT-GARDE ORBIT
DIGITAL DELIGHTS | LIST NO. 2, DECEMBER 2016
1 X 10 BULGARIAN
1
ALMANAH VEZNI. Literaturen sbornik [Almanac Scales. Literary anthology]. Ed. by
Geo MILEV. With 1 publisher’s emblem , 5 full-paged illustrations, one of them in
colour, and 18 illustrations. Stara Zagora and Sofia: Vezni, 1923. 8vo. 104 [16] p.
Original sewn publisher's wrappers.
Key publication of Bulgarian modernism in which it’s leader Geo Milev sought to summarise and
sustain the progressive and international orientation of his magazine »Vezni« (Scale, 1919-22).
The texts are penned by representatives of European avant-garde like Einstein and Mayakovsky,
as well as by leading Bulgarian proponents such as Mutafov and Lamar, who are also artistically
portrayed, mainly with wood-cuts. Published in the year of the September communist uprising and
the ensuing suppression to which Geo Milev were to fall prey in 1925, the almanac and its cover
design of geometric abstraction clearly demonstrates the proximity of Milev’s circle to the
constructivist aesthetics of the Russian revolutionary avant-garde artists like El Lissitzky.
The almanac features reproductions of works by Chagall, Klee, Kubin, Kokoschka, Masereel, Geo
Milev, Ivan Milev, Henri Ramah, Sirak Skitnik and others. Outstanding are four tiny but highly
expressive wood-cut vignettes by Mircho Kachoulev representing the four seasons and an abstract
coloured lino-cut of Vassil Zahariev. - The appendix contains a listing of international magazines of
the avant-garde, i.a. »Ça Ira«, »Der Sturm«, »De Stijl«, »Zenit«, »MA« and »Little Review«.
Former faults at top and bottom of spine, edges, corners professionally restored, cover with
owners’s remark ink and partly slightly stained, inside well preserved copy of this important
almanac, of outstanding rarity.
Jacono 14 (coloured ill.); Marinska, Geo Milev and the Arts 2015, p. 26 (coloured ill.)
€ 1.400
2
ARENA. Mesechno spisanie za izkustvo i kritika [Monatsschrift für Kunst und Kritik]. Hg.
von Lazar Panov. 1. Jg., Nr. 1 (1926). Sofia: 1926. Gr.-8° (20 x 25 cm). 22, [2] Ss.
Broschur mit schwarzem, typografischem Titeldruck.
Erstes von insgesamt nur fünf dieser in 2 Jahrgängen erschienen, fortschrittlichen
Literaturzeitschrift (Jg. 1, Nrn. 1-3; Jg. 2, 2 Nrn.), die modernen Autoren wie G. Karaslavov, Kutyo
Panchev oder As. Miladinov ein Publikationsforum bot. – Vorliegendes Heft enthält u.a. die Abb.
der Skulptur »Rätsel« (weiblicher Akt) des italienischen Bildhauers Attilio Selva, die Repro eines
Fotos vom New Yorker Hochhausbau, sowie einen Holzschnitt. Arena besticht weiters v.a. durch
die genauso reduzierte wie prägnante Umschlagtypografie.
Umschlag am Rücken fachmännisch erneuert, stellenweise mit ergänzten Fehlstellen, an einigen
Stellen leicht wasser- und stockfleckig sowie lichtrandig, Papier gebräunt, sonst solides dieser
fragilen, äußerst seltenen Zeitschrift.
Jacono 31.
€ 140
3
DOYCHEV, Lyubomir; BAGROV, Khristo: Glutnica hora [Ein Pack Menschen]. Poema
[Gedichte]. Umschlaggestaltung und zahlreiche Textllustrationen, davon eine ganzseitig,
nach Holzschnitten von Khristo BAGROV. Sofia: Selbstvlg. d. Autors (Druckerei
„Zadruzhen Trud“), 1933. Kl-8°, [17], num. 18-61, [3] S. Originale Broschur in
Fadenbindung mit illustriertem Umschlag und typografischem Titel in rot-schwarz auf
beigem Papier.
3
Unikales Exemplar der ersten, gestalterisch äußerst attraktiven Ausgabe dieser Gedichte und
gleichzeitig erste Buchveröffentlichung des renommierten Lyrikers, Prosautors und Publizisten
Lyubomir Doychev (1909-91). Doychev verbrachte seine Jugend in Yambol – wo er 1926
maturierte und heute eine Straße nach ihm benannt ist – eine Provinzstadt, die in den 1920erJahren Wirkungsort der avantgardistischen, am Futurismus angelehnten Gruppierung um Kiril
Krustev und Erscheinungsort der Zeitschrift »Crescendo« war. 1932 gab Doychev in Sofia die
Zeitschrift »Stozher« heraus, neben »Novis« und »Ugari« das progressivste, v.a. am
Konstruktivismus orientierte Periodikum der zweiten Welle des bulgarischen Modernismus in den
frühen 1930er-Jahren. Die aufwendige und beeindruckende Gestaltung des vorliegenden
Bändchens stammt von Khristo Bagrov, der auch Illustrationen für »Stozher« lieferte.
Bemerkenswert ist v.a., dass jede einzelne Seite eine andere typografische, großteils auch durch
Textholzschnitte illustrierte Aufmachung hat. Neben für die konstruktivistische Ästhetik typischen
geometrischen Gestaltungselementen (Balken, Quadrat, Dreieck und Kreis) finden sich auch im
Stil expressionistische Porträts von Cervantes, Dante, Jesus, Lermontov und Moses, sowie Fotos
des Autors, des Gestalters und von der verstorbenen Schwester des Verfassers, der dieses Buch
mitsamt einem lyrischen „Requiem“ gewidmet ist.
Umschlagrücken am unteren Rand mit einer minimalen Fehlstelle, Vorder- und Hinterseite des
Umschlags mit je einer Knickfalte, Papier gebräunt, sonst gut erhaltenes Exemplar dieser äußerst
seltenen Ausgabe, über OCLC und KVK für mich weltweit nicht nachweisbar; einzig die
bulgarische Nationalbibliothek in Sofia und die Sammlung H. & H. R. besitzen zum gegenwärtigen
Zeitpunkt ein Exemplar.
Jacono, Kat. 42 (zu »Stozher«), S. 62 (zu Doychev); http://literaturensviat.com/?p=83274 (zu
Stoychev, Aufruf am 25.2.2015)
€ 980
4
FURNADZHIEV Nikola. Proleten vyatjar [Vernal wind]. Cover after a water-coloured pen
drawing by Dechko UZUNOV. Sofia: Yasnaya Polyana 1925. 8vo. 21 [3] p. Original sewn
multicolour illustrated publisher’s wrappers.
First edition of this collection of revolutionary verse by the "untamed and charming barbarian"
(Matejic) Furnadzhiev, alongside Asen Razcvetnikov’s collection of poetry »Sacrificial pyres«
(1924) and Geo Milev’s key poem »September« (1924) the only published volume of verse by the
revolutionary artists and poets of the »September group«. Dechko Uzunov’s cover illustration
interprets folklore motifs of mountains and ears of wheat in a modernist, dynamic as well as
minimalist interplay of typography and title visualisation.
Rear side of cover with library’s stamp and label, paper slightly time stained, otherwise well
preserved copy of this hard to find item. Outside Bulgaria only three copes worldwide are traceable
according to OCLC and KVK, at the BSB, NYPL and University of Chicago Library.
Jacono 26 and 29 as well as 38 for other covers by Uzunov; Fileva/Genova, Uzunov 2003, p. 154
(Unzunov's cover for Svetoslav Minkov’s grotesque novel »Chasovnik« (»The Watch«, 1924);
Matejic 1981 cit. SOBA 1.145.418.
€ 180
5
GABE [-PENOVA], Dora, Hg.: Sborniche za detsa [Sammlung für Kinder]. Stikhove za
detsa ot nashi poeti [Gedichte für Kinder von unseren Poeten]. Umschlagillustration und
19 s/w Vignetten im Text von IVAN MILEV. (= Biblioteka Malkite [Kleine Bibliothek], 1).
Sofia: Vlg. d. bulg. Bildungsministeriums o.J. (Druckerei Bozhinov) [1925.] 8°. 92, [4] Ss.
8°. 92, [4] Ss. Originaler Halbleinenband des Verlags mit blauem Leinenrücken und
mehrfarbiger Titelillustration sowie schwarzem Titeldruck.
Erstausgabe dieser Sammlung mit Gedichten für Kinder aus der Feder von 19 bulgarischen
Autoren, darunter Klassikern wie Elin Pelin und Zeitgenossen wie Ran Bosilek. Mit der Hg. dieser
Anthologie wurde von den damals kurzzeitig reformorientierten bulgarischen Schulbehörden die
progressive Kinderbuchautorin Dora Gabe (1888-1983) beauftragt, die auch in ihrem eigenen
Werk für das Kind als gleichwertigen Leser warb. Insofern steht vorliegendes Buch, das auch
programmatisch als Bd. 1 der vom Bildungsministerium verlegten »Kleinen Bibliothek« erschien,
für ein von der literarischen Moderne geprägtes Tauwetter, das jedoch schon kurz danach im
»Weißen Terror« des monarcho-faschistischen Umsturzes endete. – Die in ihrem subtilen
Naivismus bestechenden Illustrationen nach folkloristischen Motiven stammen von Ivan Milev, dem
mit George Papazoff und Sirak Skitnik bedeutendsten Künstler der bulgarischen Avantgarde.
Gelenke bei den Vorsätezn gebrochen, Umschlag stellenweise mit leichten Gebrauchsspuren,
Einband an den Ecken und Kanten stellenweise bestoßen, Deckel gering berieben, das stärkere
Papier gering gebräunt, sonst gut erhaltenes Exemplar dieses raren und für die Kultur des
bulgarischen Kinderbuchs wegweisenden Titels, außerhalb Bulgariens über OCLC und KVK in nur
einem Exemplar (University College London) weltweit nachweisbar.
Jacono 37; Marinska: Milev 1997, S. 83 (farb. Abb. d. Umschlags)
€ 380
6
KARALIYCHEV, Angel: Razh [Rye]. Lino-cut or wood-cut cover design by Aleksandar
ZHENDOV. (= Biblioteka Nov Pat [New Path]) Sofia: Nov pat (Izrev, Pleven) 1925. 8vo.
61, [3] p. Grey original sewn publisher’s wrappers.
First edition of this volume of prose published with a cover on grey or alternatively cream stock.
Published in the book series of the Communist magazine »Nov Pat« (New Path) which was
considered a mouthpiece of the September literature, Karaliychev’s 10 short stories, together with
Anton Strashimirov’s novel »Choro« (Round dance, 1926), were the only prose works published by
authors connected to the communist »September-uprising« from 1923. There works were
confiscated and a huge part of the print run was destroyed. Equally, Aleksandar Zhendov’s linocut or wood-cut cover design is regarded as one of the most notable examples of avant-garde
book illustration in Bulgaria: a folkloristic motif depicting a peasant with a sickle, cutting grain
stalks, turns into a constructivist, contrast-rich icon of the revolution, into the grim reaper of the
bourgeoisie.
Small faults at bottom and top of spine professionally restored, margins slightly time-stained,
otherwise fine copy of this particularly scarce item. According to OCLC and KVK there is no copy
at all in library holdings worldwide, Bulgarian National Library also shows no entry.
Jacono 30 (both covers).
€ 280
7
MILEV, Geo (Übers.); Verhaeren, Émile: Poemi [Gedichte]. Ins Bulgarische übersetzt von
Geo Milev. Mit einem Porträt des Autors nach Holzschnitt von Frans MASEREEL als
Umschlagvignette und Textabb., sowie einer Bildtaf. nach einer Radierung von Henri
Ramah. Sofia: Koyumdzhiev o. J. [1935]. Kl.-8°, 45 [1] Ss. Originale Broschur in
Klammerheftung mit schwarzer Umschlagvignette und -titel.
Gedichtauswahl des modernistischen Großstadtpoeten Émile Verhaeren (1855-1916) in der
Übersetzung von Geo Milev, dem Doyen der bulgarischen Avantgarde. Milev sah im Walonen
Verhaeren ein Vorbild für die Entwicklung einer modernen, mit freiem Versmaß verfassten Lyrik
des sozialen Engagements, die er auch in Bulgarien initiieren wollte. Vorliegende Broschüre stellt
die erste posthume Ausgabe von Milevs Übersetzungen dar, der 1925, aufgrund seiner
kommunistischen Haltung inhaftiert, im Gefängnis ums Leben kam. Die Radierung des belgischen
Künstlers Henri Rahmas (eig. Ramaeker), welche dieser gemeinsam mit 14 weiteren für eine
Ausgabe von Verhaerens „Village illusoires“ (Lpz., 1913) geschaffen hatte, war von Milev bereits in
»Vezni« Nr. 3 und dem »Almanah Vezni« aufgenommen worden.
Rücken der äußerst fragilen Broschur fachmännisch erneuert, Ecken verstärkt, Hinterseite des
Umschlags mit drei Preisstempeln.
Papier gebräunt, insgesamt kompaktes Exemplar mit dem berühmten Porträt Verhaerens nach
einem Holzschnitt von Frans Masereel. Sehr selten, über OCLC und KVK weltweit nicht
nachweisbar, und auch in der Bulgarischen Nationalbibliothek nicht vorhanden.
Nicht bei Jacono und Milev, Bio-Bibliografiski Ukazatel, 1985; Vollmer 1958, Bd. IV, S. 19
€ 120
8
MINKOV, Svetoslav: Razkazi v taralezhova kozha [Erzählungen aus dem Igelfell].
Umschlag von SIRAK SKITNIK. Frontispiz mit einem Porträt des Autors nach einer
aquarellierten Federzeichnung von Ilya Beshkov. Sofia: Chemus (Obcharov) o. J. [1936].
Kl.-8°, 164, [8] Seiten. Broschur mit illustrativem Umschlag- und Rückentitel in Braun und
Grün.
Erstausgabe dieser phantastischen Erzählungen von Svetoslav Minkov, dem Pionier der
bulgarischen Science-Fiction. Minkov kam in seinen Münchner Studienjahren Anfang der 1920erJahre mit der deutschen Phantastik um Kubin und Meyrink in Kontakt und verpflanzte dieses
Genre in die bulgarische literarische Moderne. In Sirak Skitnik fand sich für Minkovs Sci-Fi ein
kongenialer Umschlaggestallter, der in dieser Phase seines vielgestaltigen Schaffens strenge,
konstruktivistische Formen bevorzugte, die sich in den Illustrationen für Chavdar Mutafovs
»Marionetki« (1920) mit expressionistischer Wucht erstmals angekündigt hatten. Die unbestimmte
Auflage wurde auf solidem Maschinbütten gefertigt, Vortitelblatt und Titelblatt sind in zweifärbigem
Druck gehalten.
Papier altersbedingt gebräunt, Hinterseite des Umschlags geringfügig fingerfleckig, sonst sehr gut
erhaltenes Exemplar dieses selten angebotenen Titels. Außerhalb Bulgariens sind über OCLC und
KVK lediglich zwei Exemplare nachweisbar: an der BSB und der Stanford University Library.
Nicht bei Jacono.
€ 280
9
MINKOV, Svetoslav: Ognenata pticha [Der Feuervogel]. Chetiri razkazi [Vier Erzählungen].
Umschlag von Ivan PENKOV. Sofia: Rodopi (Klisariv) 1927. 8°, Ss. [1-6], 7-42, [2].
Originale Broschur mit illustriertem Umschlagtitel in schwarz und rot.
Erstausgabe dieser vier phantastischen Erzählungen von Svetoslav Minkov, dem Pionier der
bulgarischen Science-Fiction. Minkov, auch Mitglied des von Chavdar Mutafov koordinierten
progressiven Sofioter Literaturkreises »Strelets« (Der Schütze), kam in seinen Münchner
Studienjahren Anfang der 1920er-Jahre ebenso mit der deutschen Phantastik um Kubin und
Meyrink in Kontakt und verpflanzte dieses Genre in die bulgarische literarische Moderne. Der
eindrucksvolle, einem abstrahierten Art Déco verpflichtete, Umschlag stellt einen zweifarbigen
Holzschnitt des renommierten Künstlers, Bühnenbildners und Illustrators Ivan Penkov (1897-1957)
dar, der 1922/23 ebenfalls in München studierte und dort mit zeitgenössischen Kunstströmungen
wie dem Expressionismus, dem Futurismus und dem Konstruktivismus in Berührung kam.
Umschlag mit leichten Gebrauchsspuren, Vortitelblatt und Titelblatt rechts unten leicht
fingerfleckig, Papier altersbedingt gebräunt, insgesamt gut und innen sehr gut erhaltenes Exemplar
dieses seltenen Titels im eindrucksvollen Umschlag.
Nicht bei Jacono; Petrov, The Visual Artists of the National Theatre of Bulgaria 1904-1954, 2014,
Ss. 177-79.
€ 240
10
MUTAFOV, Chavdar. Diletant. Dekorativen roman [Dilettante or the garden with
mannequins. Decorative novel]. Cover by Dechko Uzunov. Sofia: Strelets 1926. 12mo (12
x 16,5 cm). 203 [1] p. Original publisher's wrapper with dark-brown and salmon-coloured
cover illustration and title.
First edition of this polemic novel, the inspiration for which Mutafov found in Carl Einstein‘s early
expressionist novel »Bebuquin or the dilettantes of wonder« which he had read in Franz Pfemfert’s
magazine «Aktion« in 1912. »Dilettante« appeared in the publishing house of the literary circle »Strelets«
which was led by Mutafov and also published an short lifted avant-garde magazine with the same name.
Again painter and co-founder of the Bulgarian modernist »Native Art Society« Dechko Uzunov proved to be
a master of 1920s progessive cover design: his water-coloured pen drawing showing the protagonist is
sparingly constructed and surrounded by reduced typography, but has nevertheless strongly expressive
lines. The red point is a visual quote of Lissitzky’s red circle and the cover design for the programmatic poem
»September« (1924), written by Geo Milev, the Bulgarian avant-garde movement’s leader and publisher of
the magazine »Plamak« (1924-25), to which Uzunov also contributed.
Cover very slightly worn, paper minimally time-stained, otherwise bright copy of this hard to find item.
Outside Bulgaria only two copes worldwide is traceable according to OCLC and KVK, at SBB-PK and
Biblioteca Salesiana in Pisa (Italy).
Jacono 34 and 26, 29 as well as 38 for other covers by Uzunov; Fileva/Genova, Uzunov 2003, p. 154
(Unzunov's similar cover for Svetoslav Minkov’s grotesque novel »Chasovnik« (»The Watch«, 1924).
€ 440
4 X 10 EASTERN AVANT-GARDE ORBIT
DIGITAL DELIGHTS | LIST NO. 2, DECEMBER 2016
1 X 10 CZECH
1
A striking example of Čapek as typografic designer
BRATŘÍ ČAPKOVÉ [Brothers Čapek, d.i. Čapek, Karel u. Čapek, Josef]: Adam Stvořitel.
Komedie o sedmi obrazech [Comedy about Seven Paintings]. Typografic cover design by
Josef Čapek. 5th edition. (= Edice Aventinum, 160). Prague: Aventinum (Obzina) 1929.
8vo. 92, [4] p. Original publisher's wrapper with blue title typography and front cover and
spine, all on grey stock.
5th and last edition of this play by Karel Čapek (1890-1938), one of the most prestigious Czech
writers of the 20th century, written together with his brother, avant-garde artist and poet Josef
Čapek (1887-1945). The 1st edition was published in 1927 when also the first staging of the play
took place. Josef Čapek's striking typographic cover is the 3rd and in the same time most
progressive design for the soft cover editions of this title. Radically criticising the occupation of
Czech Republic by the Nazis in 1939 he was jailed in the Bergen-Belsen concentration camp,
where he died in April 1945.
Paper slightly time stained, otherwise very clean copy of the hard to find first edition with this
outstanding cover variation and Čapek's fine publisher's device, printed as red linocut on the titlepage.
Čapek, Bibl., 1990, 3328; Not in Vloemans 2012
€ 120
2
With Obrtel's constructivist cover art and experimental typography
BURIAN, Emil František; OBRTEL, Vít: Polydynamika [Polydynamics]. Cover and
typographic design by Vít Obrtel. Prague: Kuncíř (Obzina) 1926. 8vo (12,3 x 20 cm). [6], 771, [3] p. Original publisher's pictorial wrapper.
First edition of this important work about avant-garde music and theatre theory by Emil František
Burian (1904-59), a multi-talented musician, composer, poet, actor and theatre director dedicated
to Dada, Futurism and Czech Poetism, whose agility later also helped him to survive the
Holocaust. As member of the eminent, Prague based »Devětsil« avant-garde group in the 1920s
and 1930s, Burian was closely connected to artists like Vít Obrtel, who designed the cover and
executed the rich typographical work of „Polydynamika“, being his very first book design at all. With
this item Obrtel already develops main elements of his constructivist cover art: complex orthogonal
spaces and lines with reduced usage of colour incorporating the title typography, „a typical Obrtel
design, combining lyrical and functional elements.“ (Vloemans)
Cover very slightly time stained and with minimal traces of use, otherwise a very clean copy,
scarce in this condition. OCLC shows 8 copies in libraries worldwide, 5 of them in the US.
Primus: 1990, p. 46, no. 84 (coloured ill.) and p. 186, cat. no. 51 (list of exhibited items); Obrtel:
1992, S. 54, pos. 1 (bibliography); Vloemans: 2012, cat. no. 64 (with coloured ill.)
€ 280
3
With Štyrský's striking „picture poem“ for the cover I
FUCHS, Alfred; ŠTYRSKÝ, Jindřich; SUTAR, Ladislav: Oltář a rotačka. Román. [Altar and
offset printing machine]. Dust wrapper design by Jindřich Štyrský. Cover design by
Ladislav Sutnar. Typography by F.[rantišek] J. Müller. (= Pyramida, 10). Prague: Sfinx Janda (Müller) 1930. 8vo. 391, [7] p. Original publisher's cloth with decorative title printing
on front board and spine, in original publisher's pictorial dust wrapper (with printed sign.
„Štyrský“).
First edition of this novel by Alfred Fuchs, Czech writer, journalist and translator from German (e.g.
Heinrich Heine and Max Brod), who was murdered by the Nazis in KZ-Dachau in 1941. Štyrský's
striking design for the dust wrapper shows a »picture poem«, typical for the style of the »Devětsil«
group, consisting of contrastive photomontage, typographic arrangement and geometric
background elements.
Spine of jacket slightly bleached, edges slightly bumped, book block somewhat tilted, otherwise
fine copy.
Vloemans: 2012, cat. no. 175 (with coloured ill).
€ 140
4
Čapek's strong and clear linocut to underline the revolutionary message
HORA, Josef; ČAPEK, Josef: Probuzení. Prozý [Wake up. Prose]. Linocut cover design
and linocut publisher's device (on title page) by Josef Čapek. (= Edice Aventinum, 106).
Prague: Aventinum (Obzina) 1925. 8vo. 111, [5] p. in lose folios. Original publisher's
wrapper with linocut front cover and black title on spine, all on dark red stock.
First edition of this collection with prose writings by Czech leftist poet, translator of Russian
literature (e.g. Jessenin and Pasternak) as well as literary critic Josef Hora (1891-1945), member
of the eminent, Prague based »Devětsil« avant-garde group and also contributor to the magazine
»Plán«. Hora's books were designed by some of the most renown modernist book artists like Vít
Obrtel, František Muzika, and in this case Josef Čapek, who created this distinctively strong and
clear typographic linocut cover to underline Hora's revolutionary message.
First title page with small owner's label, bottom of spine with a small fault, top slightly bumped,
inside little traces of use, otherwise fine copy of this edition, printed on stronger paper.
Vloemans: 2012, cat. no. 45 (2 coloured ill.)
€ 120
5
With Čapek‘s primitivist cover in poster style
MACAULAY, Rose; ČAPEK, Josef: Nebezpečná stáří. Roman. [Dangerous Ages, 1921].
Cover design by Josef Čapek. (= Románová knihovna Aventina, 35). Prague: Aventinum
(Obziny) 1926. 8vo. 214, [6] p. Original publisher's pictorial wrapper.
First Czech edition of this award-winning novel of English feminist writer Rose Macaulay. Čapek‘s
primitivist cover for this series of books of Aventina, executed as a multicolour linocut, is using the
aestethics of poster design, consisting of sharp forms and filled with intensive and constrative
colours.
Edges of cover slightly bumped and worn, paper somewhat time-stained, otherwise very fine copy
of this fragile paperback, particularily rare in such a good condition.
See Dana: 1995, 13 (for another cover of Čapek made with a similar style and technique).
€ 180
6
SEIFERT, Jaroslav; ČAPEK, Josef: Hvězdy nad Rajskou zahradou. Fejtony [Stars above
The Garden of Eden. Feuilletons]. Cover design after a linocut by Josef Čapek. (= Dobrá
Četba [Good Reading], 62). Prague: Pokrok 1929. 16mo. 68 [4] p. Original publisher's
pictorial wrapper.
First edition of this collection of some of Seifert's critical accounts on contemporary literature. As
founding member of the eminent, Prague based »Devětsil« avant-garde group and major
proponent of »Poetism« later nobel-prize winner Seifert heavily criticised tendencies of Social
Realism in Czech poetry upcoming in the late 1920s and therefore was thrown out of the Czech
Communist party in 1929. Josef Čapek's linocut cover design is visualising the title in a simple
though effective way.
Cover slightly worn, edges occasionally bumped, partly with small tears, paper time-stained,
otherwise fine copy.
€ 80
7
Anti-Nazi Caricatures and Sutnar's typography I
SUTNAR, Ladislav; BIDLO, František; SCHWARZ, Vincy, Hg.: Verše na zeď. Básnikův rok
1936-1937. [Verses on a Wall. The Poet's Year 1936-1937]. Cover design and 27 text
illustrations (whereof 20 after caricatures) by František Bidlo. Typography and publisher's
device by Ladislav Sutnar. (= Slunovrat [Solstice], 22). Prague: Družstevní prace (Orbis)
1937. Small-8vo. 69, [3] p. Original publisher's neutral brochure, in original illustrated
wrapper with flaps.
Only edition of this collection of Czech satiric verse from 1936 that appeared as the editor's New
Year's offering. „It represents a reaction to political events at home and in Europe, criticizing
Fascism [in the year of the Fascist invasion in Spain, DJ] and reflecting anxiety over the impeding
war. The selection was made by Vincy Schwarz, a Prague German who, atypically for this period,
took on Czech nationality and joined the anti-Fascist movement. In 1942 he and his wife were
executed. The prominent caricaturist František Bidlo … died in a concentration camp.“ (Dana)
Ends of spine minimally bumped, paper in parts time-stained, otherwise well preseverd copy
indeed of this item with a stated print run of 5.000, nevertheless rarely offered.
Dana 1995, p. 44, cat. no. 68 (coloured ill.); Vloemans: 2012, cat. no. 368 (4 coloured ill.)
€ 90
8
Anti-Nazi Caricatures and Sutnar's typography II
SUTNAR, Ladislav; BIDLO, František; SCHWARZ, Vincy, Hg.: Básnikův rok 1935-1936.
[The Poet's Year 1935-1936]. 22 text illustrations by František Bidlo. Typography,
publisher's device and cover design, incorporating some of Bidlo's illustrations, by Ladislav
Sutnar. (= Slunovrat [Solstice], 17). Prague: Družstevní prace (Orbis) 1936. Small-8vo. 60,
[4] p. in lose folios. Original publisher's neutral brochure, in original illustrated wrapper with
flaps.
Only edition of this collection of Czech satiric verse from 1935 that appeared as the editor's New
Year's offering and contains texts by protagonists of the Czech Avant-Garde like Josef Čapek,
Karel Konrád, Ladislav Vanučra and others. “The selection was made by Vincy Schwarz, a Prague
German who, atypically for this period, took on Czech nationality and joined the anti-Fascist
movement. In 1942 he and his wife were executed. The prominent caricaturist František Bidlo …
died in a concentration camp.“ (Dana)
Ends of spine minimally bumped, paper in parts time-stained, otherwise well preseverd copy
indeed of this item with a stated print run of 6.000, nevertheless rarely offered.
See: Dana 1995, p. 44, cat. no. 68 (coloured ill.), for the 1936 edition; Vloemans: 2012, cat. no.
338 (2 coloured ill.)
€ 90
9
Iconic photomontage cover by Sutnar
SUTNAR, Ladislav; SHAW, George Bernhard: Na úskalí [On the Rocks). Translated by
Frank Tetauer and Vladimír Vendyš. Cover design with a photomontage and typography
by Ladislav Sutnar as well as title page illustration by Zdeněk Kratochvíl. 2nd edition. (=
Hry G. B. Shawa [Works by G. B. Shaw], XXXV). Prague: Družstevní pracé (Grafia) 1936.
8vo. 203, [5] p. Original publisher's wrappers with photomontage on front cover on orange
and white stock.
Volume no. XXXV of a complete edition of G. B. Shaw's works published by Břetislav Klika (later
continued as an imprint of Družstevní pracé). Sutnar,art director of the progressive Prague editor
since 1929, was responsible for the layout of the Shaw-edition famous for it's photomontage
covers and typography „characterised by sobriety and functionalism in the choice of typefaces and
wide margins“ (Dana). This volume of the series has a stated print run of 900 copies and reads 2nd
edition, nevertheless it is remarkably rare.
Covers in parts slightly creased, otherwise very well preserved copy of one of Sutnar's most
renown works, printed on white soft paper.
See: Dana 1995, p. 32, nos. 44 and 45; Vloemans 2012, 351 (coloured ill.)
€ 180
10
With a striking „picture poem“ by Štyrský II
WINDER, Ludwig; ŠTYRSKÝ, Jindřich; SUTNAR, Ladislav: Upír. [Vampires]. Roman.
Prelozil [Translated by ] J. Grmela. Dust wrapper design by Jindřich Štyrský. Cover design
by Ladislav Sutnar. Typography by F.[rantišek] J. Müller. (= Pyramida, 3). Prague: Sfinx Janda (Müller) 1929. 8vo. 290, [2] p. Original publisher's cloth, in original publisher's
pictorial dust wrapper (with printed sign. „Štyrský“).
First Czech edition of this novel of Prague based German writer Ludwig Winder, a prophetical
“anticipation of the totalitarian leader” to come (Killy, vol. 12, p. 350), originally published in 1927.
Štyrskýs striking design for the dust wrapper shows a so called »picture poem«, typical for the style
of the »Devětsil« group, consisting of contrastive photomontage (e.g. a portrait of Winder),
typographic arrangement and geometric background elements.
Spine of jacket slightly bleached, edges slightly bumped, book block somewhat tilted, otherwise
fine copy.
Vloemans: 2012, cat. no. 166 (coloured ill.)
€ 160
4 X 10 EASTERN AVANT-GARDE ORBIT
DIGITAL DELIGHTS | LIST NO. 2, DECEMBER 2016
1 X 10 YUGOSLAVIAN
1
DEDINAC, Milan: Jedan čovek na prozoru [Ein Mann am Fenster]. Mit zwei Fototafeln (die
stürmische Donau bei Zemun (Belgrad) zeigend). Umschlag nach einer Tuschzeichnung
von Petar DOBROVIĆ. Beograd (Druckerei »Planeta«): 1937. Gr.-8°. Originale illustrierte
Broschur in Klammerheftung mit rot-schwarzem Umschlagtitel.
Erstausgabe dieses surrealistischen Gedichtbands von Milan Dedinac (1902-1966). Dedinac gilt
als eine der zentralen Figuren der Avantgarden in Jugoslawien. Er arbeitet u. a. sowohl an den Zs.
"Hipnos" (1923),, "Svedočanstva" (1924/25), "Putevi" (1922/23) und "Nadrealizam danas i ovde"
(1931/32) , als auch am Almanach "Nemoguće" (1930) mit und schuf mit dem Gedichtband "Javna
ptica" (Öffentlicher Vogel", 1926) einen der Schlüsseltexte der Bewegung. Die Umschlagillustration
zu diesem Band zeigt eine Tuschzeichnung von Petar Dobrović, Mitarbeiter u. a. von „Putevi“ (Nr.
3-5, 1924).
Umschlag gering fleckig und an den Rändern stellenweise leicht bestoßen sowie lichtrandig,
vorderer Vorsatz sehr gering fingerfleckig, sonst kompaktes Exemplar dieses auf Maschinbütten
gedruckten, selten angebotenen Titels.
Siegel, 374f. bzw. Nemoguće, Ausstellungskatalog, 2002, S. 60.
€ 380
2
JERKOVIĆ, Dušan: 333 [oder ZZZ]. Poema ljubavi [Liebesgedicht]. Mit einem Portrait des
Autors nach einer Zeichnung von Vladimir Kostić auf dem Titelblatt. Beograd: Druckerei
»Zaštita« [ca. 1925]. 4° (31,5 X 24 cm). [5 nn. S.], S. 1-8, [8 nn. S.] Originale Broschur in
Klammerheftung mit roter Titelillustration.
Seltener, auch in einschlägigen Nachschlagewerken unbekannter Gedichtband des serbischen
Avantgardisten. Jerković war Mitglied einer in den 1920er-Jahren in Belgrad tätigen
modernistischen Gruppe, die in Moni de Buli und Ristko Ratković ihre führenden Köpfe hatte und
sich vornehmlich vom Surrealismus inspirierte fühlte, ohne aber von der offiziellen Gruppe der
Surrealisten um Marko Ristić vereinnahmt zu werden. Jerković beteiligte sich an der Anthologie
»Časa Vode« (Ein Glas Wasser, 1925) und war als Hg. u. Mitarbeiter für verschiedene,
bedeutende v.a. surrealistische Zeitschriften (»Umetnost« (Die Kunst, 1924), »Večnost« (Die
Ewigkeit, 1926, gemeinsam mit dem früheren Dadaisten Dragan Aleksić), »Oktobar« (1927),
»Januar« (1928) tätig. »333« oder »ZZZ« (der Titel ist doppeldeutig, je nachdem of serbischkyrillische Buchstaben oder arabische Ziffern gelesen werden) stellt Jerkovićs literarisches
Hauptwerk dar und besticht in dieser Erstausgabe v.a. durch seine abwechslungsreiche
typografische Gestaltung.
Titelseite mit kleinen Besitzervermerken in Bleistift und Tinte, eine durchgehende horizontale
Knickfalte mit leichter Beeinträchtigung des Titeldrucks und Bräunung entlang der Falte, innen sehr
sauberes, offensichtliches ungelesenes Exemplar dieses raren Titels.
€ 680
3
KUMRIĆ, Aleksandar [Illustr.]: Tri prema jedan za poeziju. [Drei zu Eins für die Poesie].
Nenad Mitrov. Mladen Leskovac. Žarko Vasiljević. Dušan Mikić. Mit 8 montierten Bildtafeln
nach Zeichnungen von Aleksandar Kumrić. Novi Sad: Slavija (Urania) 1934. Gr.-8°. 86 [2]
S. Originaler Umschlag aus Maschinbütten mit kalligraf. Umschlagtitel in rot.
Erstausgabe dieser Anthologie moderner Lyrik und Prosa aus der Vojvodina, mit eindrucksvollen,
teils surrealistischen Illustrationen nach Zeichnungen des Malers, Zeichners und Grafikers
Aleksandar Kumrić (1898-1983), der in seinen Studienjahren an der Belgrader Kunstschule (192529) offenbar unter den Einfluss der beiden Belgrader surrealistischen Gruppen um Marko Ristić
bzw. Zvezdan Vujadinović geriet, die v.a. in Kunst- und Literaturkreisen mit Zeitschriften wie
»Svedocanstva« (Zeitzeugenschaft, 1924/25) und »50 u Evropi« (50 in Europa, 1928-33) und mit
illustrierten Gedichtbänden wie »Javna Ptica« (Der öffentliche Vogel) von Milan Dedinac für Furore
sorgten.
Umschlagränder teils mit leichten Einrissen (weil überhängig), Einrisse an der oberen und unteren
Kapitale des Rückens mit Japanpapier unterlegt und konsolidiert, Titelblatt und zwei weitere Seiten
mit Besitzerstempel, Titelblatt zusätzlich mit Namenszug des Besitzer, Vortitelblatt mit
handschriftlicher Inventarnummer, Papier altersbedingt geringfügig gebräunt, sonst solides
Exemplar.
Vloemans 129, 225; http://www.pavle-beljanski.museum/prikaz-autora-pojedinacan.php?autor=15
(zu Kumrić; Aufruf am 22.2.2015).
€ 580
4
RISTIĆ Marko; DEROKO, Aleksandar; MILOJEVIĆ, Miloje: Le Balai du Valet [(Der Besen,
das Ballett, der Ball) des Dieners]. Hiladi i druga noč [Die 1002. Nacht]. »Kasina« 16-II1923. Mit einem Originalholzschnitt von Aleksandar Deroko. Belgrad: 1923. 8°. (19,7 x 13
cm). Zweiseitig bedrucktes gelbes Blatt aus Maschinbütten.
Fragment des Ankündigungsblatts einer dadaistischen Tanzperformance für vier Ballerinen und
diverses Personal, die am 16. Februar 1923 als 7. von 13 Programmpunkten eines von den
Vertretern der Belgrader Avantgarde unter dem Motto »Die 1002. Nacht« im örtlichen Casino Hotel
veranstalteten Künstler-Balls ihre Uraufführung (und wohl auch einzige Vorstellung) erlebte.
Die Vorderseite des Blattes schmückt ein markanter Holzschnitt des Architekten und Malers
Aleksandar Deroko, der auch für Vorhang, Kulisse und Kostüme dieser Veranstaltung
verantwortlich zeichnet. Deroko gilt als einer der exponiertesten bildnerischen Vertreter der
Moderne in Jugoslawien und war u.a. auch Mitarbeiter der surrealistischen Zeitschrift »Putevi«
(Wege, 1922-23). Das hier geschnittene, karikatureske Ballerinen-Motiv wurde auch für ein
ebenfalls von Deroko entworfenes Veranstaltungsplakat verwendet.
4
Der auf der Rückseite mit Buchdruck abgedruckten Besetzungsliste ist zu entnehmen, dass die
Musik für das hier angekündigte »groteske Ballett« von Miloje Milojević stammt, einem
maßgeblichen Vertreter der modernen Musik im damaligen Jugoslawien, der sich in der Tradition
von Eric Satie und Igor Stravinsky sah. Seine Komposition wurde an diesem Abend von einer
vierköpfigen Jazz-Band uraufgeführt. Als Librettisten werden mit Marko Ristić und Rastko Petrović
zwei zentrale Proponenten des serbischen Surrealismus genannt. Es treten u.a. auf: ein
Hypnotiseur, eine Ameise, die Sentimentalität, der Selbstmord und das Bewusstsein.
Es fehlen Ss. 3 und 4 des ursprünglich einmal gefalteten, vierseitig bedruckten Blatts, die weitere
Texte, aber keine weiteren Abb. enthalten. Oberkante mit Fehlstellen ohne Bild- und Textverlust
und randseitig mit Klebestellen aufgrund einer früheren unsachgemäßen Entfernung aus einem
Rahmen (?), sonst sehr sauberes Blatt dieses Rarissimums, das weltweit über Google, OCLC und
KVK nur in den Sammlungen H. & H. R. und Marinko Sudac (Zagreb) nachweisbar ist, in letzterer
ebenfalls nur als Fragment (Ss. 1-2 mit dem Holzschnitt).
Vgl. Vlajnić-Grujić, Sanja, Hg.: The Works of the Composer Miloje Milojevic. Belgrad: 1998, S. 263;
Jović, Bojan: Transmental Sheherezade. On the interwar avant-garde balls in Belgrade and Paris
(Summary). In: Musikologija, no. 14 (2013), S. 109 u. S. 112 (Abb. des Plakats von Deroko).
€ 1.400
5
NADREALIZAM DANAS I OVDE [Surrealism Now and Here]. Year 2, no. 2 (January
1932). With four photographic plates containing repros of 12 works as well as enclosed
advertising flysheet. Beograd: Nadrealistička izdanja [Surrealist Publishing House]
(Narodnoj Stampariji [State Printing House]) 1932. 4° (29,3 x 21,2 cm). 48 pp., 4 leafs.
Original publisher's wrapper with multicolour typographic cover title and front flap
(magazine). 17 x 11,2 cm. Flysheet with red colouring and black typographic printing on
front side.
2nd issue (of 3) of this most important review of Serbian surrealism. Preceding no. is focussed on
"autokritika" (self-criticism); due to the increasing internal struggles between the aesthetic and
political tendencies of Serbian surrealism explicit artistic and theoretical positioning and justification
is performed in numerous texts by the leading proponents of the movement: Aleksandar Vučo,
Vane Bor, Radojica Živanović-Noe, Djordje Jovanović, Djordje Kostić, Koča Popović, Petar
Popović and, of course, Marko Ristić; elsewhere a comparable manifest-like concentration of the
group only appeared in the almanac "Nemoguće (The Impossilbe, 1930).
5
No. 2 of NDIO furthermore has special importance as far as proving international relations of the
Serbian avant-gardes is concerned. It contains a number of foreign contributions, particularly by
French surrealists: poems and prose-writings by André Breton, René Char, René Crevel, Paul
Éluard and Tristan Tzara.The illustrated part consists of bound-in 4 plates on high-glossy paper
with b/w, full-paged reproductions of two paintings by Salvador Dali (»Peinture« (or later »Tour du
plaisir or Vertige«) and »Guillaume Tell«), a sculpture of Alberto Giacometti (»Objet embarrassant
à poser«) and Yves Tanguy's painting »Les belles manières« sharing a page, furthermore two fullpaged repros of drawings by Max Ernst ("Portrait") and Živanović-Noe (»Uspomena« [The
Memento]), and finally 3 photographs and 3 further illustrations. All contributions are originally
created for this issue, the original French manuscripts or typescripts were sent to Belgrade for this
reason. All reproductions of paintings and drawings, except Dali's »Guillaume Tell«, are based on
original photographs especially made on this occasion. To resume NDIO no. 2 "...inaugure et
marque cette dernière année du mouvement surréaliste serbe, et en est l'expression la plus
authentique. Il relève d'une préparation beaucoup plus poussée, même quantitativement il est
beaucoup plus volumineux que le premier (...) et il suffit de le consulter pour se rendre compte
assez nettement des problèmes du surréalisme belgradois de cette dernière année de son
existence."
Enclosed is a red flysheet announcing the publication of no. 2 of NDIO. - Rear side of cover with
publisher's advertisement listing Serbian surrealist publications since 1922.
Front and bottom of spine very slightly torn, paper occasionally slightly foxy, and time stained, the
rear side of the flysheet time-stained, otherwise fine copy of this magazine and ephemera, hard to
find in any issue and condition.
Le Fonds Paul Destribats, no. 317; Biro/Passeron, p. 296; cit.: Kapidzic-Osmanagic, Hanifa: Le
surréalisme serbe. Paris 1968, p. 212; Todić, Milanka: Surrealism Here and Now. In: Nadralizam
danas i ovde. Reprint. Belgrade: 2002, appendix to issue no. 1.
€ 880
6
PETROVICH, Rastko: Ljudi Govore [People speak]. Beograd: Geca Kon 1931. 8° (13,3 x
20 cm). 140, [2] p. Original publisher's wrappers with b/w photomontage front cover.
First edition and a declared example of Petrovich’s „automatic writing“ inspired by Surrealism
which was at its climax in Belgrade in the beginning of the 1930s. The author writes in his
foreword: „I jotted down the first words that came to my mind in a bistro that very moment, on a
piece of paper bought at the tobacconist’s across the street“. Rastko Petrovich (1898-1949), who
between 1935-49 also settled in the the US (Chicago, Washington DC) as part of the Yugoslavian
Corps Diplomatique, is considered to be one of the most gifted and authentic modernist Serbian
writers, artists and photographers and his contributions can be found in all major avant-garde
periodicals and other publications at that time (e.g. »Putevi« (Paths, 1922/23)»Svedočanstva«
(Testimonies, 1924-25), Almanac »Nemoguće« (The Impossible, 1931), »Nadrealizam danas i
ovde« (Surrealism here and now) 1931-32). Between 1921-31 he also had 4 books published that
are seen as core publications of Serbian Expressionism and Surrealism, one of them being the
preceding. Furthermore Petrovich’s striking photomontage cover for this book is one of the very
few examples of this technique in the realm of the Serbian avant-garde.
Bottom of spine professionally restaurated, back side of cover with little ink staining; front paper
with contemporary handwritten, dated and signed dedication or owner’s remark, one stamp of a
Belgrade school and another stamp of the publisher Geca Kon; otherwise inside very fine, printed
on machine-mould paper.
Vloemans 129, 217; cit. Todić, Nemoguće, 263-64.
€ 540
7
In einer sonst nicht nachweisbaren Umschlagvariante
MATIĆ, Dušan; RISTIĆ, Marko et al.: POZICIJA NADREALIZMA [Die Position des
Surrealismus]. Signatura Rerum. Beograd: Nadrealisticka izdanja 1931. 11 S. Gr. 8°
(17:22 cm). Hellrosa Broschur in Klammerheftung mit dunkelrotem Umschlagtitel auf
Vorder- und Hinterseite des Umschlags.
Zentrales Dokument des serbischen Surrealismus, in dem "zum ersten Mal die Ziele der
Bewegung inhaltlich präzisiert, eine Verbindung von Marxismus und Psychoanalyse, von
Revolution und Poesie, angestrebt wird." Die 11 Unterzeichner dieser Schrift, Aleksandar Vučo,
Oskar Davičo, Milan Dedinac, Vane Bor, Radojica Živanović-Noe, Djordje Jovanović, Djordje
Kostić, Dušan Matić, Koča Popović, Petar Popović und Marko Ristić, hatten ihre Position bereits im
kurz davor erschienen Almanach "Nemoguče" (Das Unmögliche) künstlerisch dargelegt.
7
Gemeinsam mit »Nacrt za jednu fenomenologiju iracionalnog« (Versuch einer Phänomenologie
des Irrationalen, 1931) und »Anti-Zid« (1932) bildet die »Pozicija« das theoretisch-philosophische
Dreigestirn der Belgrader Surreale. Durch das in vorliegender Schrift offene Eintreten für eine
soziale und politische Revolution setzten sich die Autoren im damals diktatorisch regierten
Königreich Jugoslawien grosser persönlicher Gefahr aus. Die Abhandlung wurde von den
französischen Surrealisten als kollektive politische Äusserung der Belgrader Gruppe verstanden
und auch sofort in der Zeitschrift "Surréalisme au service de la révolution" abgedruckt.
Vorliegendes Exemplar ist in einen für mich sonst nicht nachweisbaren Umschlag aus dünnem,
hellrosa Maschinbütten mit dem Wasserzeichen der Fa. Canson geheftet. Die mir sonst bekannten
Exemplare haben Umschläge aus grauem oder blauem Maschinenpapier (mit rotem bzw. braunem
Umschlagtitel).
Hinterseite des Umschlags mit minimalem Ausriß an einer Ecke, die Ränder aufgrund von
Büttenstruktur und Überhang des Umschlagpapiers geringfügig bestoßen, sonst makelloses,
unaufgeschnittenes Exemplar dieser bedeutenden Proklamation, in der vorliegenden
Umschlagvariante von größter Seltenheit.
Richter, L., Olschowsky, H., Literaturen Ost- und Südosteuropas, 1990, S. 341f.; KapidzicOsmanagic, H., Le surréalisme serbe, Seite 187f.
€ 1.800
8
SVEDOCANSTVA [Testimonies]. Knjizevni casopis izlazi desetodnevno [Literary
magazine published every 10 days]. Ed. by Djordje Djordjević. No. 1-8. Beograd:
(Rodlojub [Patriot]) 1924/25. Gr. 8° (22,5–24,5:17,5 cm). 16 p. each. Original publisher’s
pictorial wrapper, every volume on differently coloured stock and cover design.
Complete set of this first collective publishing adventure of the later Belgrade surrealists around
Marko Ristić (who contributed the first Serbian text written according the the rules of »écriture
automatique« titled „Example“ (no. 3), Dušan Matić, Milan Dedinac, Mladen Dimitrijević and
Aleksandar Vučo, as well as some affiliated progressive poets like Moni de Buli (Monny de Boully),
Rastko Petrović and others. As the title of the review suggests »Svedocanstva« should deliver
testimonies to the contemporary developments in Serbian arts and society but also abroad,
containing poetry, essays, short prose, letters as well as documents. Printed in 1.000 copies each
(nevertheless hard to find today in complete sets) the issues of this magazine document early
established and close ties to the French surrealist movement, whose periodical »La Révolution
surréaliste« is promoted (no. 1). Matić, a professor of philosophy and major theoretical proponent
of the Belgrade movement, and the poet Moni de Buli later signed the French surrealist's
declaration „La révolution d'abord et toujours“ in 1925.
8
Additionally »Svedocanstva« contains translations of works by foreign modernist poets like
Aleksandar Block (no. 2). Each issue of the magazine is devoted to a single subject, e.g. on art
brute or primitive art (created by lunatics or children, no. 6), on dreaming, as one of the surrealist's
main topics, etc. Together the set shows a unity in message and artistical, literary as well as
philosophical activity of the Belgrade group and their relations the international avant-gardes.
The visual material reproduced in »Svedocanstva« (where of 5 plates, 1 inserted) consists of e.g.
the picture novel „Vampir“ (later reprinted in full length in »La Révolution surréaliste« (Oct. 1925),
numerous reproductions of comic like drawings and also of some photographies made by Rastko
Petrović showing tattooed outlaws (prisoners, prostitutes etc.) The rear cover incorporates a
reproduction of a design by Picasso, drawn on a post-card especially for and dedicated to the
editor's board of »Svedocanstva« and later sent to Belgrade.
Attached: Advertising leaflet for »Svedocanstva«. 22:12,3 cm. Black offset print on one side on
yellow stock.
Rear cover of no. 1 with on small fault (not inflicting text or illustration), margins and paper slightly
time stained, staples and paper around it in parts rusty, otherwise well preserved, mainly uncut set
of this rare and important magazine with surrealist tendencies avant la lettre.
Centre Pompidou, Ed.: Le Fonds Destribats, 2011, no. 222; Antiquariaat Vloemans, Catalogue
129, no. 224; Kapidzic-Osmanagić, Hanifa: Le surréalisme serbe 1968, p. 76-98; TijardovićPopović: Photography in Serbian Surrealism 2002, S. 46f.; Todić, Nemoguče 2002, S. 164f.
€ 1.800
9
VINAVER Stanislav: Nova pantologija pelengirike. [Neue pelengyrische Panthologie].
Beograd: Izdanje »Biblioteke Misao« 1922. Kl.-8°. 176 S. Originale Broschur mit
mehrfarbig illustriertem Umschlagtitel.
Erstausgabe dieser Sammlung geistreicher Parodien aus der Feder des serbischen Autors,
Übersetzers (Poe, Rabelais) und Literaturkritikers Stanislav Vinaver., der u.a. ein »Manifest des
Expressionismus« verfasste und an den Zeitschriften »Zenit« (Nrn. 1-6) und »Putevi« (Nrn. 1-2)
mitarbeitete. Ein erster Band ähnlicher Texte war bereits im Jahr 1920 unter dem Titel
»Pantologija. Novije srprske pelengirike« im Belgrader Vlg. »Napredak« erschienen. – Ausgehend
vom Kunstwort »pelengirike« (pelen = Wermut) im Titel verballhornt Vinaver hier die vom
einflußreichen Literaturkritiker Bogdan Popović im Jahr 1911 hg. Anthologie neuer serbischer
Lyrik. Der modernistisch orientierte Vinaver, seit einem Aufenthalt in Petrograd (1917-19) mit
Aleksandr Blok und dem russischen Symbolismus bekannt, lehnte das in Popović’s Anthologie
vertretene traditionelle Literaturverständnis ab und setzte stattdessen auf die Avantgarde, zu deren
markantesten Belgrader Vertretern er zählte.
Umschlag stellenweise gering fleckig, Rücken leicht gebräunt, sonst wohl erhaltenes Exemplar
dieses selten angebotenen Titels mit einer kongenialen Umschlagzeichnung eines von mir nicht
identifizierbaren Künstlers nach dem Motto: »Im Witz liegt der Schrecken«.
Vloemans 129, 226; Markuš, Zenitizam, 257; Siegel, 384f.
€ 440
10
Nr. 18 von 30 Exemplaren der Vorzugsausgabe
VUČO, Aleksandar: Nemenikuće. Ćirilo i metodije [Nemenikuće. Kyrill und Method].
Beograd: Nadrealistička izdanja [Surrealistischer Verlag] (Narodnoj Stampariji
[Staatsdruckerei]) 1932, 33, [3] Seiten. Gr. 4° (20,44 x 27,2 cm). Schwarze Broschur in
Fadenheftung mit silbergrauem, typografischem Umschlagtitel.
Nr. 18 von nur 30 in der Maschine nummerierten Exemplaren der auf minzgrünem, stärkerem
Papier gedruckten Vorzugsausgabe eines der bekanntesten Werke des Belgrader Surrealismus in
seiner zweiten Entwicklungsphase zwischen 1930 und 1932. Die Normalausgabe wurde auf
weißem Maschinbütten gedruckt und erschien sowohl im gleichen schwarzen, als auch in einem
dunkelblauen Umschlag, jeweils ebenfalls mit silbergrauem Umschlagtitel. „Nemenikuce est un
poème remarquable, et apparient á ce que le mouvement serbe a donné de plus purement
surréaliste et en meme temps de plus fort et inoubliable.“ Die Progressivität der Texte wird auch
durch Vučos Verwendung lateinischer (statt kyrillischer) Buchstaben und der teils
unkonventionellen Typografie unterstrichen. »Nemenikuće« ist dem Surrealisten Koča Popović
gewidmet, »Ćirilo i metodije« dem Doyen der Bewegung, Marko Ristić, mit dem Vučo auch
zeitlebens befreundet war.
Umschlagrücken mit einigen kleinen fachmännisch restaurierten Stellen, Umschlag an den
Rändern stellenweise minimal eingerissen, sonst sehr sauberes Exemplar.
Vloemans, Kat. 129, Nr. 229 (Normalausgabe); zit.: Hanifa Kapidzic-Osmanagic: Le surréalisme
serbe et ses rapports avec le surréalisme français. Paris: 1968, Ss. 242; Richter, L.; Olschowsky,
H.: Literaturen Ost- und Südosteurpas. Leipzig: 1990, S. 242.
€ 1.400

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