l’arengario studio bibliografico
soixante-douze livres pour paris
Edizioni dell’Arengario
Gussago Franciacorta 2015
Salon International du Livre rare & de l’Autographe
XXVIIe édition - Grand Palais - Paris - 24/26Avril 2015
L’Arengario Studio Bibliografico
Dott. Paolo Tonini e Bruno Tonini
Via Pratolungo 192 - 25064 Gussago
tel. ++39 030 25 22 472
fax ++39 030 25 22 458
mail: [email protected]
http://www.arengario.it
Membri dell’Associazione Librai Antiquari d’Italia
& International League of Antiquarian Booksellers
L’ARENGARIO
STUDIO BIBLIOGRAFICO
edited by Alessandra Faita, Bruno & Paolo Tonini
graphic design by di Bruno Tonini
72 BOOKS FOR PARIS
books magazines posters and original documents
1. MAJAKOVSKIJ Vladimir (Bardad 1894 - Mosca 1930), Vladimir Majakovskij. Tragedia v dvukh deistviiakh s prologom i epilogom [Vladimir Majakovskij: tragedy in two
acts with a prologue and an epilogue], Moscow, “Lit. Ko” Futuristov “Gileya”, 1914, 13,5x17,8, publisher’s soft cover, [2]-44 pages, typographical cover, 7 plates depicting
line-drawings by David and Vladimir Burliuk. “La tragedia di Majakovskij è in due atti con un prologo e un epilogo forma di soliloqui. Nel prologo, Majakovskij si presenta
al pubblico come “l’ultimo poeta forse” in una tragica città distorta in modo espressionista. Egli proclama, calmo, beffardo e impavido, il suo odio per i raggi del giorno (rifacendosi quasi al tema favorito dal simbolista Fëdor Sologub), e promette di “rivelare le nostre nuove anime con parole semplici come muggiti”, per condurre la gente alla
felicità di vivere (“vi cresceranno labbra per baci enormi”) e fornire un linguaggio universale. In questo breve monologo, Majakovskij riesce a toccare alcuni temi e tratti a
lui proprio, nonché quelli del futurismo russo in genere (urbanesimo, primitivismo, antiestetismo; i temi della disperazione isterica, dell’incomprensione, e quelli dell’anima
dell’uomo nuovo e dell’anima delle cose). Nel corso dell’opera, resta la figura del poeta come profeta, essere superiore e insieme compassionevole; ma tutta l’azione della
tragedia è affidata a persone astratte e grottesche (un uomo senza orecchio, un uomo senza la testa, ecc.) o da gruppi in funzione di coro. Alcuni dei personaggi minori
hanno assegnati soliloqui importanti. Questi personaggi, tuttavia, ad eccezione del “giovanotto ordinario”, non sono altro che frammenti dell’io lirico del poeta, Vladimir
Majakovskij, perfino quando, in apparenza, sembrano separati da lui, o essergli antagonisti.” (Markov). Limited edition of 500 copies. Ownership entry dated 1915 on first
blank leaf; three small faded stamps of a Russian library and hand written cataloguing numbers on back cover. Two small restoration on spine, skilfully made. Fine copy.
First edition. [Bibliography: Compton 1978: pp. 49-51 e 60-61; Markov 1973: pp. 139-141; MoMa 2003: n. 65, pp. 90-91; Vanguardia aplicada 2012: pag. 261, L33]. € 3000
2. CENDRARS Blaise (Frédéric Sauser, La Chaux-de-Fonds 1887-Paris 1961) - LEGER Fernand (Argentan1881-Gif-sur-Yvette1955), La fin du monde, filmée par l’Ange
N.-D. Roman. Compositions en couleurs par Fernand Léger, Paris, Editions de la Sirène, 1919, 32x25 cm., publisher’s soft cover, 58 unnumbered pages, 22 “parolibere” (free
words) compositions by F. Léger, coloured “au pochoir”. Book written by Cendrars and illustrated by his friend Léger, were the authors symbolize the post-war and modern
life crisis. God is in his American office, signing and checking endless documents. He stop his work for a meeting with all the world’s religious chief, from the Pope to Rasputin.
The yearly balance is considered positive, as the war delivered a significant amount of souls. Later God spreads all kind of plagues to optimise the business’ benefits and
travels to Mars. The depopulated Earth, is overrun by plants. At the end God is back in his office, but is gone bankrupt. Léger illustrations are composed by letters, numbers,
quotes, mixed up to symbolise the frenzied life of a megalopolis. Limited edition of 1225 copies, many of them were lost or destroyed, due to the difficulty in the realization of
the pochoirs. One of the 1200 on Lafuma paper. First edition. [Bibliography: Jaroslav Andel, Avant-garde page design 1900 - 1950, New York, 2002: pp. 96-100]. € 5500
3. REMIZOV Aleksej Michajlovič (Mosca 1877 - Parigi 1957), Elektron [Electron], St. Petersburg, “Alkonost”, 1919, 11,2x14,2 cm, publisher’s soft cover, 32-[4]
pages, futuristic line-drawing on front cover, woodcut on the first page. Collection
of futuristic poems. Print run of 4000 copies. Small stamp of a Russian private collection inside back cover. First edition. [Bibliography: MoMA 2003: n. 239]. € 1200
4. MARINETTI Filippo Tommaso [Filippo Achille Emilio Marinetti] (Alexandria 1876
- Bellagio 1944), Caro Ferrazzi, vi conosco da tempo e ho molta simpatia per il vostro
ingegno..., Milano, 1919 (5 February), 28,5x23 cm., autograph letter, dated and
signed, letterhead “Movimento Futurista diretto da F.T. Marinetti - Marciare Non Marcire”, addressed to Ferruccio Ferrazzi. Envelope, with the same letterhead. € 2500
5. ROCHE Juliette (Paris 1884 - 1982), Demi Cercle, Paris, Editions D’Art ‘La Cible’, 1920, 32x24 cm., publisher’s soft cover, (52) pages, woodcut vignette by Albert Gleizes
on front cover. Second work of the author, the first one collecting typographical experiments and Futurist/Dadaist calligrams, composed between 1913 and 1919 and influenced by Walter Arensberg poems. Juliette Roche published her first work, (a booklet of symbolist poems entitled “Des mots...”) in 1907, under the pseudonym “Herco”.
She was a student of the painters Maurice Denis and Felix Valloton at the Ranson Academy. In 1915 she married the cubist artist Albert Gleizes and in 1917 she collaborated
with Marcel Duchamp organising the first exhibition of the Society of Independent Artists. She had among her friends A. Cravan, F. Picabia, M. Duchamp, E. Varese and
many others. Limited edition of 500 numbered copies. First edition. [Bibliography: Ex libris 10/1983: n. 74; Vanguardia aplicada 2012: pag. 232, L69].
€ 1500
6. SERNER Walter (Karlsbad 1889 - Minsk concentration camp, 1942), Letzte
Lockerung. Manifest dada [Final dissolution. Dada manifest], Hannover, Paul
Stegemann, 1920, 22,1x14,6 cm., publisher’s soft cover illustrated in black and
red, 45 (3) pages. “Ebauché en 1918, lu par Serner à la huitième Soirée dada
en avril 1919 et publié dans “Anthologie Dada” en mai, ce manifeste constitue la
contribution majeure de son auteur à Dada Zurich. Serner y exprime a profond
nihilisme, dans lequel hans Richter verra plus tard l’expression la plus aboutie
de la philosophie dada. Serner annihile les fondaments du jugement esthétique
et de la création, et, sur un mode ironique et obscène, démonte toute convention” (Amanda L. Hockensmith, in Le Bon 2005: pag. 902). First edition in book
form. [Bibliography: Dachy 1989: pag. 219; Richter 1966: pag. 291]. € 1500
7. DEVETSIL, Revoluční Sborník (Raccolta rivoluzionaria), Praha, Večernice V.
Vortel, 1922, 16x24 cm., publisher’s typographic soft cover, 202-[6] pages. Edited
by Jaroslav Seifer (Prague 1901 - 1986) and Karel Teige (Prague 1900 - 1951).
46 b&w illustrations including reproduction of photographs of Charlie Chaplin,
line-drawings by Ivan Goll and Georg Grosz, works by Archipenko, Chagal, Kubin, Lipchitz, Teige, Zadkine and many others. Texts by Jiří Wolker, Karel Schulz,
Vitĕzslav Nezval, Artuš Černik, Jar Čecháček, Jendřich Honzl, Jaroslav Seifert,
Georg Kaiser, Karel Schulz (a lyricist poem), Karel Teige and others. “Design and
lay-out by di Karel Teige. Print run unspecified. First edition. [Bibliography: Gubler
1982: pag. 77; IVAM 1993: pag. 133; Liijima - Nishino 2003: pag. 168; Primus
1990: pag. 11 with illustration, n. 12].
€ 1500
8. KHLEBNIKOV Velimir (Malye Derbety 1885 - Krestcy 1922), Zangezi, Mosca, OGES, 1922, 16,4x24,6, publisher’s soft cover, 35-[1] pages, line-drawing by Petr.
Miturich on front cover. Khlebnikov’s famous dramatic poem, one of his most significant examples of linguistic experimentation; the numerous phonetic associations
and sound effects stress the poet’s interest for etymology and mathematical formulas. According to the “trans-mental” principles of zaum ideology, the 20 scenes are
represented by 20 “words surfaces”, were intervene the different characters of the play, each of them making use of one of the seven poetical languages: of the birds,
of the gods and stars, the transmental (zaumnyj), the word decomposition, the audiographic and the mental ones. “Khlebnikov had finished his text in January 1922
and it had been published later the same year with a printed cover bearing a drawing by his brother-in-law, Petr Miturich. In his preface the poet likened his supertale”
to’ a sculpture made from a chunk of vari-coloured ores, the body - of white stone, the clothes and cloak - of blue stone, the eyes of black stone…’. For his printed book
cover Miturich did not attempt to draw such a sculpture, with its connotations of a human body; instead, he made a drawing related to ones on his ’spatial graphics’ complex handmade three-dimensional paper sculpture, a little pop-up books, composed from box-like forms, which he decorated with black and white designs. One
of them was a project for poems by Khlebnikov which would have provided a most unusual format for a book; another is covered with drawings of tree-like shapes,
which the artist modified for his “Zangezi” cover design, using branching forms ending in leaf-like curlicues and free-flowing loops to suggest both forms from nature
and abstracted writing. Miturich developed them from patterns on his better-known ‘Graphic dictionary’ of 1919, which consists of hundred of handmade decorated
paper cubes which he made as illustrations of Khlebnikov astral alphabet”. (Compton). Print run of 2000 copies. A signature on front cover, three small marginal
restoration, skilfully made, on back cover. First edition. [Bibliography: Compton 1992: pp. 111-113 (illustration); Markov 1973: pag. 384; MoMA 2003: n. 417]. € 1800
9. TATO (Guglielmo Sansoni, Bologna 1896 - Roma 1974), Marciare non Marcire!
Marinetti? Tato! Visitate tutti l’esposizione d’arte Futurista. Scuole Comunali dal
17 al 30 Sett. aperta, (Salsomaggiore), 1922 (September), 14,9x20,7 cm., flier,
printed on pink paper and illustrated with a typographic construction composed
by different fonts, published on the occasion of Tato’s exhibition held in Salsomaggiore, 17 - September 1922. First edition. [Bibliography: Lista 1984: pag. 85
with illustration].
€ 800
10. ARVATOV Boris Ignatievich (Kiev 1896 - 1940), Isskusstvo i klassi [Art and
classes], Mosca - Pietrogrado, Gosizdat, 1923, 15,7x23,5 cm, publisher’s soft
cover, 87-[1], typographical composition in constructivistic style, in red and black,
on cover; printed monogram (H.). Collection of essays. Print run of 7.000 copies.
Little loss at upper right corner of title page; Stamp of Russian library with number
in pen on back cover. First edition. [Bibliography: Compton 1992: pag. 64 and
pag. 154 n. 102; Di Milia 1991: pag. 138].
€ 900
11. MAJAKOVSKIJ Vladimir (Bardad 1894 - Mosca 1930), Izbrannyye Majakovskij [Works by Majakovskij], Berlin, “Nakanune” Akt. Ges., 1923, 12,7x18,7
cm., publisher’s soft cover, 259-[1] pages, anonimous constructivistic composition
on front cover, 1 plate (b&w photographic portrait of Vladimir Majakovskij). Poetry
anthology, with several examples of “paroliberi” verses. Print run unspecified, Ownership signature and bookdealer stamp on title page, small library stamp in a corner of back cover. First edition. [Bibliography: Katanjan 1978: pag. 137]. € 1200
12. MAJAKOVSKIJ Vladimir (Bardad 1894 - Mosca 1930), Veshchi etogo goda
do 1 Augusta 1923 [This year activitys, until the 1st of August 1923], Berlin, Nakanune Akt. Ges., 1924, 12,6x18,9, publisher’s soft cover, 108-[4] pages, anonimous constructivistic composition on front cover. Anthology of Vladimir Majakovskij’s poems, many of them in “paroliberi” and avantgarde verses. Print run
unspecified. Stamp of a Russian library on title page. Fisrt edition. [Bibliography:
MoMa 2003: n. 566].
€ 1200
13. PALADINI Vinicio (Moscow 1902 - Rome 1971), Uguaglianze, (Rome),
(1921), 34,5x34,5. Indian ink drawing on ivory cardboard, dated and signed
by Vinicio Paladini on the back side. It was used in 1923 for the front cover of
Paladini’s essay “Arte d’Avanguardia e Futurismo”, written for the publisher Edizioni della Bilancia, Rome, publisher of the magazine of the same name founded
by Umberto Barbaro. On the back side is pasted a typed label giving the relevant
information (artist’s name, title, technique, size, date and place). Added a b&w
photograph depicting the drawing, possibly shot in the 60s, with the stamp of the
Laboratorio Fotografico Ferrruccio Rampazzi, Turin. Slight stain of water along
the bottom edge of the sheet, some small stain scattered on the surface but good
condition.
€ 6.500
14. QUINTANILLA Luis (Mexico 1900 - 1980) [under the pseudonym KYN TANIYA], Radio. Poema Inalambrico en Trece Mensajes, Mexico, Editorial “Cultura”,
1924 (maggio), 23,5x16,8 cm., publisher’s soft cover, 29 (3) pages, original linocut
by the author on front cover. “Parolibere” poem. Second work of the stridentist Mexican poet. He used the Japanese pseudonym “Kyn Taniya”. Ironically dedicated “In
memoriam a Luis Quintanilla - Mayo 9 de 1924”. His first work “Avion” was published
one year previously (1923). First edition. [Bibliography: Bonet 1996: pag. 47]. € 1200
15. BUCHHOLZ Erich (Bromberg 1891 - Berlin 1972): AA.VV., Sammlung Gabrielson - Göteborg. Mit Beiträgen von Adolf Behne - Ludwig Hilberseimer - S.
Friedlander-Mynona, (Berlin), [printer: Albert Frisch], 1925 (1925), 23x20,8 cm.,
publisher’s soft cover, 72 pages, cover and layout by Erich Buchholz, 30 plates
(1 in colour) reproducing works by W. Baumeister, E. Buchholz, M. Burchartz, G.
Caden, M. Chagall, W. Dexel, V. Eggeling, L. Feininger, O. Fischer, O. Freundlich,
J. Itten, A. von Jawlensky, W. Kandinsky, P. Klee, El Lissitzki, L. Moholy-Nagy,
G. Muche, L. Peri, O. Schlemmer, K. Schwitters, A. Segal and F. Stuckenberg.
First edition. [Bibliography: Eckhard Neumann, “Functional Graphic Design in the
20’s”, New York, Reinhold, 1967: pag. 24 n. 26].
€ 1200
16. DEPERO Fortunato (Fondo 1892 - Rovereto 1960), Casa d’Arte Futurista Depero - All’Esposizione Internazionale di Parigi: Trionfa - W Il Futurismo W [Adoratissimo Nato, non ho avuto niente botizie ancora...], Rovereto, s.d. [1925], Autograph
letter signed, written on both sides, letterhead “Casa d’Arte Futurista Depero - All’Esposizione Internazionale di Parigi: Trionfa - W Il Futurismo W”; 30 autograph lines
in pencil of Rosetta Depero, addressed to her husband, (possibly in 1926). Autographs by Fortunato Depero on both sides: an arrow in red pastel and the words “W
Rosetta” on the front side and on the back side the drawing of a stylised smile and
the names “Rosetta” and “Rrrrosetttta”, also in red pastel. [Bibliography: Maurizio
Scudiero, «Futurismi postali», Rovereto, Longo, 1986: pag. 123 n. 266]. € 2.500
17. DEPERO Fortunato (Fondo 1892 - Rovereto 1960), Depero Futurista, Milano - New York - Paris - Berlin, Edizione Italiana Dinamo - Azari, 1927 [August], 24,3x32
cm., Publisher’s binding, boards with two aluminium bolts, 117 leaves (1 double) resulting in 234 pages, 2 free endpapers, 4 tissue-papers (1 printed: “Mucca in Montagna”). Cover design in black and silver colour on light blue background, repeated on the title page in light blue and orange on white background. Illustrated throughout
with drawings, line sketches, some two-colour printing, 47 reproductions of photographs (2 in colour) and ‘parolibere’ compositions. In Azari’s words, the book was “bolted as an engine”; the purpose was not only to make the book similar to a machine and to give the possibility to replace “parts of the engine” (the pages), the aim was
also to obtain an object too big and cumbersome to be placed on the shelf of a bookcase. “Pubblicato nel 1927, in un formato album all’italiana, il libro utilizzava tutte
le precedenti innovazioni futuriste: fogli apribili, carte decorate, stampa a inchiostri di colore, giochi tipografici ecc. Tutto il lavoro è improntato all’estetica meccanica.
Il libro di Depero comporta inoltre la novità di una “rilegatura dinamo” dovuta ad Azari che ne era l’editore: i fogli sono riuniti mediante due grossi bulloni di alluminio,
con relativi dado e copiglia, in modo che tutto il volume appare assimilato ad una macchina. L’atto di sfogliare le pagine assicura il funzionamento cinetico dell’oggetto
e la sua organicità meccanica permette la sostituzione dei singoli pezzi, cioè i fogli, per operazione di smontaggio della struttura. Secondo le parole di Azari, il libro
era “imbullonato come un motore” e concepito come un oggetto ingombrante in modo tale da non poter essere inserito nello scaffale di una biblioteca” (Lista 1984:
pag. 102). Dedication copy, autograph dedication by Depero dated 1927 and autograph of Azari’s brother: “Al camerata Alessandrini il fratello dell’Autore pure
Futurista fa omaggio di questo volume devotamente. Azari Pompeo - Massa - Gennaio 1928”. Good, complete copy. First edition. [Bibliography: Salaris 1988: pag.
35 with illustration; Salaris 1992: pag. 215 with illustration; Pontus Hulten 1986: pag. 466 with illustration.].
€ 22000
18. DEPERO Fortunato (Fondo 1892 - Rovereto 1960), Depero futurista 1913 - 1927. Edizione - Italiana della Dinamo Azari - Milano S. Orsola, 6 - tel. 82520, Milano,
Dinamo Azari, [no printer], 1927 [August], 32,8x34 cm., folding leaf, printed on one side only, advertising text by Depero, describing his book: “Azari inizia l’avviamento
della sua Dinamo con la edizione “Depero futurista”, libro meccanico (imbullonato come un motore), pericoloso (può costituire un’arma-proiettile), inclassificabile (non
si può collocare in libreria come gli altri volumi), è quindi anche nella forma esteriore originale, invadente, assillante, come Depero e la sua opera. Depero spara questa
sua opera in segno di festa a F.T. Marinetti. Essa riassume l’attività di uno dei più fecondi futuristi italiani d’oggi...”. Copy with many dynamic decorations, signed
and dated by Depero in purple pastel. Original advertising poster.
€ 3800
19. DEPERO Fortunato (Fondo 1892 - Rovereto 1960), Depero Futurismo [Times Building - New York City], New York, The American Art Publishing, [no printer], no date [1929], 13,5x8,5 cm., original postcard, not posted, Depero’s autograph in red and purple: on the front side “Depero Futurismo” with dynamic
drawings and on the back side “Futurismo - New York - F. Depero”. € 1200
20. THONET, Stahlrohrmöbel, Frankenber/Eder - Hessen, Gebrüder Thonet,
1930 (ca. 1930), 20,8x29,5 cm., publisher’s soft cover, 48 pages, logo and title
in gray on black background on front cover. Illustrated throughout with b&w reproductions of tubular steel furniture. The production of this kind of furniture was
contemporary with the collaboration of Bauhaus designers, such as Mart Stam,
Marcel Breuer and Mies van der Hohe. Original advertising catalogue. € 1300
21. ZWART Piet (Zaandijk, Amsterdam 1885 - Wassenaar 1977), Serie monografieën over filmkunst onder redactie van Mr. C.J. Graadt van Roggen nn. 1/10 [All published], Rotterdam, W.L. & J. Brusse N.V., 1931 - 1933, 10 issues, 22x17,5 cm., publisher’s wrappers, blue and red photomontages by Piet Zwart on covers. List of the issues (all illustrations are b&w frames from movies): 1. C.J. Graadt van Roggen, “Het Linnen Venster”, 1931; 72 pages, 90 illustrations; 2. L.J. Jordaan, “Dertig jaar film”,
1932; 80 pages, 84 illustrations, several underlining and annotations in pen. Protective plastic film on cover. 3. Henrik Scholte, “Nederlandsche filmkunst”, 1933; 64 pages, 98 illustrations; 4. Th. B.F. Hoyer, “Russische filmkunst”, 1932; 84 pages, 90 illustrations; 5. Simon Koster, “Duitsche filmkust”, 1931; 75 (1) pages, 110 illustrations;
6. E. de Roos, “Fransche filmkunst”, 1931; 59 (1) pages, 32 illustrations; 7. J.F. Otten, “Amerikaansche filmkunst”, 1931; 70 (2) pages, 32 illustrations; 8. Menno ter Braak,
“De absolute film”, 1931; 50 (2) pages, 100 illustrations; 9. Constant van Wessem, “De komische film”, 1931; 56 (2) pages, 40 illustrations; 10. Lou Lichtveld, “De geluidsfilm”, 1933; 79 (1) pages, 100 illustrations. [Bibliography: Purvis - De Jong 2006: pag. 155-157 with illustrations; Vanguardia applicata 2012: pag. 332, L312]. € 3500
23. BOPP Raul (Vila Pinhal 1898 - Rio de Janeiro 1984), Urucungo. Poemas negros, Rio de Janeiro, Ariel Editora Ltda, 1932, 19x13,3, publisher’s soft cover, 56[8] pages, colour illustration by Tomas Santa Rosa (Joao Pessoa 1909 - New Delhi
1956) on cover. Collection of modernist poems, inspired by the Anthropophagic and
Negrismo movements, showing numerous examples of onomatopoeias, typically
found in Italian futuristic poetry. Dedication copy, author’s autograph on first
page, dated and inscribed to a Japanese woman from Kobe, and pen annotation on page 5. Raul Bopp, together with Oswald and Mario De Andrade, was one
of the leading personality of the Anthropophagic movement. Small label of a private
collection on last page. Some shading on cover; a little foxing. First edition. € 2400
22. DEPERO Fortunato (Fondo 1892 - Rovereto 1960), New-York. Film vissuto.
Primo libro parolibero sonoro, (Rovereto), published by the author, [no printer],
1931, 20x22 cm., booklet, 4 unnumbered pages, b&w illustration on front cover,
photomontage (with portrait of Depero) by Mario Castagneri (Alessandria 1892 Milan 1940). Design and layout by Depero. Original flier advertising the book “New
York - Film vissuto” about Depero’s experience in New York and expected to include two records with the voice of Depero; the book was never published. “La grande
quantità di “impressioni newyorkesi” composta di schizzi, tavole parolibere, ritagli
di giornale, fotografie, ricordi ecc., coinvolge Depero già al suo rientro dall’America.
Viene subito programmato il famoso libro “New York - Film vissuto”, che doveva essere accompagnato da due dischi con la voce di Depero, ma che non uscì mai” (M.
Scudiero). Signed by Depero on first page. First edition. [Bibliography: Scudiero
- Leiber 1986: pag. 228 and 236-237 with reproduction of all four pages]. € 1200
25. ERNST Max (Brühl 1891 - Paris 1976), Une semaine de bonté, ou les sept
éléments capitaux. Roman, Paris, Aux Editions Jeanne Bucher, 1934, 5 volumes,
28x22 cm., publisher’s soft covers printed in colour, 182 pages, 182 full-page
illustrations, original collage by Max Ernst. Among all the “collage-novels” this
is the most significant one, entirely composed by images, without any text. Max
Ernst’s collage novel Une Semaine de Bonté (A week of kindness) was created during the summer of 1933 while Max Ernst was staying at Vigoleno in northern Italy. Ernst created the 182 collages of Une Semaine de Bonté by cutting
up and reorganizing illustrations from Victorian novels, encyclopedias, wood
engravings, natural science journals, and other books. He arranged the images to present a dark, surreal world mirroring contemporary Surrealist themes.
The work originally appeared in five volumes, but is actually divided into seven
sections named after the days of the week, beginning with Sunday. Each of the
sections is associated with an element, and is provided with an example of that element and an epigraph Limited edition of 816 numbered copies. First edition. [Bibliography: Hubert 1988: pp. 269-286; Maffei - Picciau 2006: pag. 70; Spies-Metken
1975-1979: nn. 1904-2085; Waldberg 1988: pag. 184 with illustration]. € 6000
24. DEPERO Fortunato (Fondo 1892 - Rovereto 1960), Liriche radiofoniche, Milano, Editore G. Morreale [printer: S.A. Spiga - Milano], 1934 [May], 24,5x16,5 cm.,
publisher’s soft cover, 97 (3) pages, engraving in black and red on front cover, decorative pattern on title page, 8 plates in black and white, depicting 7 painting by Depero and a “creazione fotografica” (photographic composition) by Mario Castagneri. Poems and tables “parolibere” composed for radio broadcasting. Dedicated to
Giovanni Gerbino. First edition. [Bibliography: Salaris 1988: pag. 35 giving 6 plates
instead of 8; Salaris 1992: pag. 241; Scudiero-Rebeschini 1990: pag. 29]. € 1900
26. CARBONI Erberto (Parma 1899 - Milan 1984), Snia Viscosa. Le opere assistenziali, Milano, Edizione a cura dell’Ufficio Propaganda Snia Viscosa, [printer:
Officine Grafiche Esperia - Milano], 1938, 23,8x24, publisher’s metal ring binding, [82] pages, 2 photomontages in colour by Erberto Carboni on cover, frontispiece
(acetate leaf depicting the Duce portrait toned green). Photographic book, composed of photomontages in b&w and colour by Erberto Carboni. One of the rarest and
more significant production of the Italian design of the 30s. Print run unspecified. Only edition. Carboni was one of the most important figures of Italian graphics. In his
graphic design develops original solutions of photomontages, architectural layouts, geometrizzazioni volumes, spatial perspectives, typographical elements: ““Carboni
passa con estrema duttilità dalla «severità» di certi annunci (come quelli del 1935 per la Olivetti) alla «frivolezza» di quelli della Rinascente o per il Panettone Motta,
dalla vaga intonazione surreale del celebre motivo dell’orologio che «segna l’ora» dei biscotti Pavesini, all’elegante seppur compassata, stlizzazione di elementi tipografici di certi annunci Bertolli”. (Gillo Dorfles, 1961). [Bibliography: Arte della pubblicità 2008: pag. 151 illustration; Visual design 1983: pag. 52 illustration]. € 1600
27. BUCCAFUSCA Emilio (Casalnuovo, Naples 1913 - Paris 1990) - MARINETTI Filippo Tommaso [Filippo Achille Emilio Marinetti] (Alexandria 1876 - Bellagio
1944), Ritratto aereo di Marinetti, [Naples], 1938, 12,5x14,5 cm., original drawing, Indian ink on paper; artist’s autograph date, title and signature. Trace
of eraser, slightly affecting the drawing.
€ 2500
28. TORRES GARCIA Joaquim (Montevideo 1874 - 1949), Manifiesto 2 Constructivo 100%, Montevideo, Publicaciones de la Asociación de Arte Constructivo, 1938 (December), 19,5 x 14,3 cm, publisher’s soft cover, 15-[1] pages,
typographic cover. Published by Torres Garcia in answer to a series of polemic
articles, by some members of the “Escuela taller de Artes Plásticas”, appeared in
the newspapers. The essential ideas of Constuctivism are presented and it is reiterated how far from the social realism is the Latin American art project of universality. First edition. [Bibliography: Ramírez, Mari Carmen & Olea, Héctor: Inverted
Utopias: Avant-Garde Art in Latin America, New Haven, 2004: pag. 489]. € 1600
29. ARP Jean (o Hans) (Strasburgo 1887 - Basilea 1966) - BILL Max (Winterthur
1908 - Berlin 1994), Arp: 11 configurations. 11 gravures originales de Jean Arp
publiées par Max Bill avec un texte monographique de Gabrielle Buffet-Picabia et
une introduction de Max Bill, Zürich, Allianz-Verlag, 1945, 27,1x26,2 cm., loose as
issued in publisher’s wrappers, (20) pages, cover and 11 original black and white
woodcuts by Hans Arp. 1 original woodcut signed in pencil by the artist and
with the protective tissue-paper preserved. Lay-out by Max Bill. Texts by Max
Bill and Gabrielle Buffet-Picabia, with a poem by Arp. Limited edition of 220 numbered copies, one of the 40 with the signed woodcut. First edition. [Bibliography:
Bolliger Katalog 1989: catalogo 9, n. 436].
€ 3500
30. THARRATS Joan - Josep (Girona 1918 - Barcellona 2001), Collages I Maculatures, Barcellona, Dau al Set, 1954, 25x17,7 cm., publisher’s soft cover, (36),
pages, illustrated cover in colour, artists’ book composed by 11 issues of 4 pages
each. Eight issues with full- double-page silk-screen printing by Joan Josep Tharrats and dedicated to Max Ernst, Hans Arp, Joan Mirò, Heinz Berggruen, Bernard
Karpel, André Bloc, Angel Ferrant. Three issues with the Catalan translation of
Rabelais poem “Les jeux de Gargantua” (Livre I, Chapitre XXII). From the colophon: “Aquest quadern fou enllestit a Barcelona el 24 de juliol de 1954. Per la
seva realitzaciò han estat necessaris més de cent tiratges diferents. Els procediments utilitzats en algunes de les impressions fan que cada un dels exemplars
no sigui del tot igual als altres i que, per tant, valgi per un original”. The special
printing technique made possible to obtain the all 125 copies are different from
each other. Published by the Catalan group “Dau al set” (the week of the die),
which activity, even though short-living, was fundamental for the evolution of the
Spanish art during the resistance. Limited edition of 125 copies. Unnumbered
and unsigned copy. First edition.
€ 1200
31. FONTANA Lucio (Rosario di Santa Fe, Argentina, 1899 - Varese 1968), Fontana,
Venezia, Edizioni del Cavallino, 1958, 14,5x19,7, publisher’s yellow cloth with the
author’s name printed in red and 33 small holes of different diameter. Artists’ book,
leporello, 16 pages, printed on yellow and black paper, with 14 plates (1 b&w) pasted, depicting some of the artist’s works. Limited edition of 600 numbered copies,
200 of which were published with a yellow cover, 200 with a green cover and 200
with a orange cover. First edition. [Bibliography: Ruhé - Rigo 2006: pag. 183]. € 2800
32. LE CORBUSIER [Charles-Edouard Jeanneret-Gris] (La Chaux-de-Fonds,
Switzerland 1887 - Roquebrune-Cap-Martin, France 1965), Le Corbusier se moque du Spoutnik, Paris, (1960), 24,6x24 cm., original b&w vintage photograph, Le
Corbusier in his atelier in Paris, Rue de Sèvres. On the back side a 12 lines typed
text, entitled “Le Corbusier se moque du Spoutnik” and signed “Photo Della Casa
Nblitz Paris”. Stamp of the photograph agency News Blitz Milan and another of
a private collection.
€ 1000
33. SIMONETTI Gianni-Emilio (Roma, 1940), Contro l’urbanistica [da Roaul
Vaneigem “Internationale Situationniste” n. 6 - Agosto 1961] - Sempre “Contro
l’Urbanistica” di Roaul Vaneigem - Seconda parte di una stessa conversazione
tra gli stessi personaggi, no place and date [about 1965], 2 cyclostyled leaves,
illustrated with photocopies of portraits, text handwritten by the author in black
marker. Signed “ges” (Gianni Emilio Simonetti) on the second leaf. From
the collection of a well known artist and visual poet.
€ 4000
34. AA.VV., 24 Stunden, Itzehoe-Vosskate, Verlag Hansen & Hansen, [printer:
Offsetdruckerei Ferdinand Bahruth - Hamburg-Reinbeck], 1965 (June), 10,4x7,3
cm., soft cover, 328 - 254 - 4 pages, publisher’s cover printed in black on pink
background, 3 folding plates and several illustrations (b&w reproductions of photographs by Ute Klophaus); die-cut pagework (complete with Wolf Vostell’s inserted
bag of flour). Report of the last exhibition held in the “Galerie Parnass”, established
in 1958, one of the main avantgarde art gallery and reference point for Fluxus and
Actionism. The visitors could follow non-stop for 24 hour the artists at work. Among
the participants: Joseph Beuys, Bazon Brock, Rolf Jährling, Ute Klophaus, Charlotte Moormann, Nam June Paik, Eckart Rahn, Tomas Schmit, Wolf Vostell. Signed
copy, autograph signatures of Bazon Brock, Nam June Paik and Wolf Vostell.
Original exhibition’s catalogue (Wuppertal, Galerie Parnass, 5 June 1965). € 1200
35. BROODTHAERS Marcel (Saint-Gilles, Belgio 1924 - Colonia 1976), Marcel Broodthaers, Bruxelles, (Galerie) Cogeime, (1966, September), invitation die-cut
paper, 9 parts including 3 photographs of egg shells printed in white, yellow and red, 1 depicting the artist’s monogram repeated twelve times, 3 reporting information
and opening hours of the exhibition, 1 with the text: “Je retourne à la matière, je retrouve la tradition des Primitifs. Peinture à l’oeuf, peinture à l’oeuf” and 1, the central
one, with the artist’s name printed in black. Invitation made on the occasion of Marcel Broodthares exhibition, held on 27 September 1966. “Marcel Broodthaers created
a wide range of ephemera during his entire brief career. More often than not, he designed his own announcements, many of which evince the same critical elegance
and opaque sensibility that one finds in everything that he made. In conjunctionwith his fictional Museée d’Art Moderne (1968-72), Broodthaers created exhibition
announcements, institutional letterhead, publicity, and mimeographed «open letters», some of which bear the officius marks of his fictional museum’s rubber stamping
and which the artist mailed to approximately five hundred to a thousand primarly artworld recipients. Through these and other numerous examples, Broodthaers’s
artist’ ephemera frequently adopted and interrogated the rhetorical forms, fonts, and flourishes of the museum’s discourse and the ideology of its publicity apparatus”.
(Leiber). [Bibliography: Lailach 2005: pag. 100; Leiber 2001: n. 77, pag. 30].
€ 1200
36. PISTOLETTO Michelangelo (Biella 1933), Le ultime parole famose, (Torino,
[published by the authot], [printer: Tipolito Piana - Torino], 1967, 17,5x12,5 cm.,
publisher’s soft cover with 2 staples, 16 unnumbered pages, title printed in black
on gray background on front cover. Italian / English parallel text. First book published by the artist, deserving the definition of artists’ book because self-designed
and because of his choice of not use any illustration. Print run unspecified, but
60 copies stated by the author in: Michelangelo Pistoletto, “Continenti di tempo”,
Lyon, Musée d’Art Contemporain, 2001. “Il primo libro di Pistoletto risssume in sé,
anche per la scelta tipografica tanto dimessa quanto raffinata (solo testo e soppressione di ogni ausilio visuale), le poetiche e le tensioni che i «poveristi» cercheranno di esprimere fin dal loro esordio... Il testo è suddiviso in due capitoli intitolati «La speculazione» e «L’essere», capisaldi della dualità dell’uomo” (Maffei).
First edition. [Bibliography: Lailach 2005: pag. 153; Maffei 2007: pag. 162]. € 700
37. WEINER Lawrence (New York, Bronx 1942), Statements. Lawrence Weiner,
New York, The Louis Kellner Foundation/Seth Siegelaub, 1968; 10x17,7 cm, publisher’s soft cover, pp. [64]. Artist’s book with a typographical cover, containing 24
Weiner’s statements printed in English. “Statements is divided into «General Statements» and «Specific Statements». The two sections reflect the transition from
painting as a work process that is necessarily concentrated on a specific object to a
linguistic representation of the use of materials in general. However this classification is not as distinct as would seem. Apart from a few precise measurements in the
«specific statements», there is little that distinguishes them from the general ones,
and since the dimensions are not delivered from specific givens but are purely arbitrary, they do not detract from the general applicability of the statements. (...) The
statements are printed in blocks and the lines are broken at random, so that the
division of the words is often unconventional. This lends the works an object-like
appearance, not in the illustrative fashion of visual poetry, but rather in reference
to the indipendent materiality of the written word...”. (Schwarz). First artist book by
Lawrence Weiner, limitedcedition of 1000 copies. First edition. [Bibliography: Lailach 2005: pag. 167; Schwarz 1989; n.1 pp. 10-11, pag. 126, pp. 136-139]. € 700
38. INTERFUNKTIONEN, nn. 1 - 12 (All published), Köln, 1968/1975, 12 volums, publisher’s soft cover; magazine edited by Friedrich Wolfram Heubach (ns. 1-10) and
by B. H. D. Buchloh (ns. 11-12). At the beginning it was published as a protest against the conservative editorial board of the magazine Documenta 4, edited by Arnold
Bode and almost exclusively aimed to promote the art market. During the seven years of publishing however, the magazine was radically transformed, taking an interest
in the newest artistic trends in Europe and U.S., becoming in a few years one of the main publications in the field of contemporary European art and highly contributing
to the Europe/U.S. art relationships. Complete run, including the excessively rare first issue. - All issues are illustrated throughout in b&w with photographs, reproductions of works of art and documents. Issues n. 4 to 8 and n. 12 are in German and English. n.1) 1968 (September); 20,4x29,5 cm., publisher’s wrappers in two-colours
printing 73-[1] numbered leaves (148 pages), some folding, papers of different kind and size. Contributing artists: Wolf Vostell, Von Altoray, Chris Immendorf, Chris Reinecke, Paul Karalus, Werner Schreib, Klauss Staeck and others. Original works: pasted colour postcard signed by Von Altoray, pasted colour postcard signed by Vostell, pasted stamp, printed in two colours and stamped with Kp Brehemer’s mark, copy of a typed letter signed by Chriss Immendorf, copy of a typed letter signed by
Chris Reinecke. Print run of 120 copies. - n. 2) 1968 (December); 20,4x29,5 cm., 91-[11] numbered leaves (204 pages), some on paper of different size and kind; white, gray and black illustrated publisher’s wrappers. Contributing artists: Mauricio Kagel, F. W. Heubach, Wolf Vostell, Alfred Feussner, June Paik, Chris Reinecke, Paul
Karalus, Joseph Beuys, George Maciunas and others. Print run of 250 copies. - n. 3) 1969 (August); 20,4x29,5 cm., (4)-146 pages, some on paper of different kind and
size; white, gray and black illustrated publisher’s wrappers. The first part (pages 1-35) is devoted to the Land Art. Contributing artists: Walter de Maria, Richard Long,
Michael Heizer, Jan Dibbets, Denni Oppenheim, james Lee Byars, Wolf Vostell, Dieter Rot, Joseph Beuys, and others. Print run of 500 copies. - n. 4), 1970 (March);
21x28,8 cm., publisher’s wrappers, (4) 182 (1) pages, b&w illustration depicting a work by Carl Andre on front cover, 1 plate (loose, as issued) on transparent plastic.
Contributing artists: Panamarenko, Dennis Oppenheim, Keith Arnatt, Joseph Beuys, Daniel Buren, F.W. Heubach, Diter Rot, Mauricio Kegel, Claus Böhmler, LIDL, W. &
B. Hein, Günter Brus, George & Gilbert, Dieter Meier, Jan Dibbets. Page 16 erroneously numbered as 17. Ordinary copy, one of 1140 not signed by the artists. - n. 5, 1970
(November); 21x28,8 cm., publisher’s wrappers, (4) 169 pages, b&w photographic portrait of Joseph Beuys on front cover. Contributing artists: Oppenheim, Smithson,
Hutchinson, Weibel, Export, Dibbets, George & Gilbert, Baldessari, Schuldt, Brecht, Nemetschek, Fulton, Pulsa-group, Ehrenberg, Christo, Insley, Michael Oppitz, Keith
Arnatt, Joseph Beuys, F.W. Heubach, Oswald Wiener, Claus Böhmler, Tomas Schmit, Lothar Baumgarten, Vito Acconci, Giuseppe Penone, Johannes Stüttgen, Dan
Graham. Page numbering: page 102 is followed by 13 unnumbered leaves, printed on the front side only and counted as 13 pages; numbering goes normally on from
page 114. Print run of 1000 copies. - n. 6, 1971 (September); 21x28,8 cm., publisher’s wrappers, (1) 90 (5) pages, b&w photographic portrait of Bruce Naumann on front
cover. Contributing artists: Bruce Naumann, Dennis Oppenheim, Vito Acconci, Arnulf Reiner, Joseph Beuys & Terry Fox, F.W. Heubach, Hamish Fulton, Heinz Frank,
Mike Heizer, J. Stüttgen, Roger Welsh, Bob Morris, Rob Ca, Richard Budelis, Peter Weibel. Print run of 1000 copies. - n. 7, 1971 (September); 21x28,8 cm., publisher’s
wrappers, (1) 95 pages, b&w photographic portrait of Joseph Beuys on front cover. Contributing artists: Joseph Beuys (“Action”, where Beuys washes the feet of the
public present at the performance), Mike Heizer, Peter Hutchinson, Dennis Oppenheim, Richard Long, Robert Smithson, Buckminster Fuller, Nam June Paik, Dan Graham, Lotar Baumgarten, Will Insley, Jürgen Kremer, Panamarenko. Print run of 1000 copies. - n. 8, 1972 (January); 21x28,8 cm., publisher’s wrappers, (1) 117 pages,
reproduction in black, white and gilt of a work by James Lee Byars on front cover, 1 double page plate. Contributing artists: Sigmar Polke, Vito Acconci, Dan Graham,
Arnulf Reiner, Günter Brus, Bazon Brock, F.W. Heubach, Peter Hutchinson, Richard Budelis, Rebecca Horn, Terry Fox, Roger Welch, Will Insley, Wagner & Weyhing,
Bruce Naumann, John Baldessari, Peter Weibel, Mattia Schäffer. Print run of 1000 copies. - n. 9, 1972; 14,6x20,8 cm., publisher’s wrappers, (2) 197-(1) pages, b&w
photographic illustration by Lothar Baumgarten on front cover, 1 loose leaflet with a text by “Gufo Reale”, 1 loose leaflet of errata, 1 folding flier (b&w photographic illustrations by Sigmar Polke and text by Achim Duchov) inserted in a pouch inside back cover. Contributing artists: Dennis Oppenheim, Dan Graham, Hans Hecke, John
Baldessari, Lothar Baumgarten, Terry Fox, William Wegman, Steve Reich, Will Insley and others. Print run of 1000 copies. - n. 10, 1973; 14,6x20,8 cm., publisher’s
wrappers, (2) 174 pages, b&w photographic illustration by Gufo Reale on front cover, b&w photographic portrait of Marcel Broodthaers on back cover, 1 leporello with a
sequence of b&w photographs by Rainer Giese. Contributing artists: Bill Beckley, Sigmar Polke, Reiner Ruthenebeck, Vito Acconci, John Will Insley, Baldessari, Marcel
Broodthaers and others. Print run of 1000 copies. - n. 11, 1975; 21x28,8 cm., publisher’s wrappers and dust-jacket, (4)-140 (but 139) - (40) pages, covers design by
Daniel Buren: a black stripe of 8,5 cm. width, vertically printed. The same pattern is repeated on 52 pages (printed on papers of different weight and shades of white), 22
of which bound at the beginning and at the end of each chapter and 30 bound at the volume end; the meaning is explained by the artist, in French, English and German,
at page 120. Contributing artists: Marcel Broodthaers (“Racisme vegetal” a photographic sequence from page 60 to page 73), Lawrence Weiner, Germano Celant, Dan
Graham, Bruce nauman, Italo Sganga, Bill Beckley and others. Design and layout by Simone Bingemer. Print run unspecified - n. 12, 1975; 21x28,8 cm., publisher’s
wrappers and dust-jacket, (10) 130 (44) pages, b&w frames from Yvonne Reiner’s movies “Kristina (for a... Opera)” and “Film about a Woman Who” on front and back
covers, dust-jacket in opaque tissue paper printed in green and central stripe by Daniel Buren. The pattern of the darker central stripe is repeated on the pages were no
text is present, and slowly disappears. Design and layout by Simone Bingemer. Contributing artists: Daniel Buren, Carl Andre e Hollis Frampton, Yvonne Reiner, David
Lamelas, Maria Nordman, Roman Jakobson, Antonius Höckelmann, Anselm Kiefer. Print run unspecified. [Bibliography: Artist Magazines 2011: pp. 266-267]. € 12.000
39. DE DOMINICIS Gino (Ancona 1947 - Roma 1998), Necrologio [Annuncio mortuario], Roma, L’Attico, 1969 (novembre), 71x101 cm., poster, print on paper, the artist’s
name “Gino De Dominicis” printed in the centre, in black on white background, within a black frame with white floral decoration, in the style of an obituary. “Con il manifesto mortuario l’artista fa il suo esordio nel panorama romano, annunciando la propria fine con l’indicazione della data e del luogo del decesso “L’Attico Roma novembre
1969”...” (Achille Bonito Oliva, “Gino De Dominicis, l’immortale”, Milano, Electa, 2010; pag. 112). “Penso che le cose non esistono. Un bicchiere, un uomo, una gallina,
per esempio, non sono veramente un bicchiere, un uomo, una gallina, sono soltanto la verifica della possibilità di esistenza di un bicchiere, di un uomo, di una gallina.
Perché le cose potessero esistere veramente bisognerebbe che fossero eterne, immortali” (Gino De Dominicis, “Lettera sull’immortalità del corpo”, 1969. From an important private German collection, ex libris designed by Sol LeWitt. Small marginal tears, skilfully repaired. Poster published on the occasion of the exhibition held in Rome,
Galleria L’Attico, 5 November 1969. First edition [Bibliography: Achille Bonito Oliva (editor), “Gino De Dominicis l’immortale”, Milano, Electa, 2010; pag. 113]. € 8500
40. AA.VV., Lenk - Mack - Pfahler - Uecker, Stuttgart, Dr. Cantz’sche Druckerei, 1970, 36,5x22, 4 soft-cover issues in portfolio, as published, [2]; [16]; [16]; [16];[ 16]. Artists’ book, including 4 exhibition catalogues published on the occasion of the 35th Biennale d’Arte di Venezia, and related to the artists Thomas Lenk, Heinz Mack, Georg Karl Pfahler and Günther Uecker, exhibiting in the German booth. Catalogue I: Lenk”, text by Dieter Honisch, cover in fuchsia colour, 1 original silk-screen printing in
green and silver on semi-transparent paper, 1 double-page plate and 30 illustrations (B&W reproductions of photographs depicting some of the artist’s works). Catalogue
II: “Mack”, text by Dieter Honisch, silver-coloured cover, 1 original silk-screen printing in black and silver colour printed on light cardboard, 6 full-page plates and 4 illustrations (B&W reproductions of photographs depicting some of the artist’s works). Catalogue III: “Pfahler”, text by Dieter Honisch, light blue cover, 1 original silk-screen
printing in orange, yellow and light blue, printed on white light cardboard, 2 double-page plates and 24 illustrations (B&W reproductions of photographs depicting some
of the artist’s works). Catalogue IV: “Ueckerk”, text by Dieter Honisch, glossy white cover, 1 original silk-screen printing on uncoated paper, 1 double-page plate and 22
illustrations (B&W reproductions of photographs depicting some of the artist’s works). Text in German, English and Italian. Print run unspecified. First edition. € 1.000
41. AA.VV., Artists & Photographs, New York, NY., Multiples Inc., 1970. Publisher’s cardboard box with lid (graphic design by Dan Graham), 33,5x33,5x9 cm,
containing 18 (of 19) objects and a booklet, critical essay by Lawrence Alloway.
Missing, as usual, Tom Gormley’s multiple “Red File Cabinet”, most copies of
which were destroyed before the edition was delivered. The objects included are:
1 exhibition catalogue, 11 artists’ books, 4 multiples and 2 posters. In particular:
1) Allows Lawrence, Artists & photographs, cm. 17,7x17,7, publisher’s soft cover,
19-[1] pages (exhibition’s catalogue). 2) Artists’ book: Bochner Mel, Misunderstandings, a theory of photography. Mel Bochner, 13x21 cm, envelope containing
10 cards (1 reproduction of a b&w photograph and 9 reproductions of handwritten texts) 3) multiple: Christo, Packed tower, Spoleto, Italy, cardboard box, 1968,
27x22x2 cm., containing 9 loose plates depicting drawings and photographs of
a project carried out in Spoleto by the artist. 4) Poster: Dibbets Jan, Perspective
correction - 5 batteries ,1967, 1 poster, four-folded, 33x25 cm (open 65 x 50 cm.).
5) Artists’ book: Graham Dan, Two parallel essays: Photographs of motion; Two
related projects for slide projectors, 17,5x28 cm, publisher’s soft cover, 8 pages.
6) Artists’ book: Huebler Douglas, Location piece #2: New York City - Seattle, Washington; envelope, 19x18,8, cm., envelope containing 19 loose leaves (2 maps,
16 plates of b&w photographs, 1 leaf with text). 7) Artists’ book: Kaprow Allan,
Pose: carrying chairs through the city, sitting down here and there, photographed,
pix left on spot, going on. Note: occurred in and around Berkley, California, March
22, 23, 1969; envelope, 23,6x31 cm., containing 7 light cardboards (texts and
reproductions of b&w photographs). 8) multiple: Kirby Michael, Pont Neuf: the
localization of a tetrahedron in space Michael Kirby, (4 sheets of cardboard, cut
and scored so that each may be assembled into a cube), 31,5x31,5 cm. envelope
containing 1 leaf with text and 4 little boxes (to be assembled) in cardboard (7x7x7
cm.), completely illustrated with reproduction of b&w photographs. 9) Artists’ book:
Kosuth Joseph, Notebook on water 1965 - 66, 25x31 cm., envelope containing 15
loose leaves (a large one, 55x36 cm., four-folded and 14 of various sizes) with
texts by the artist. 10) Artists’ book: LeWitt Sol, Schematic drawing for Muybridge
II, 1964,14 x 33 cm., 10 small reproductions of b&w photographs on a cardboard,
in envelope. 11) multiple: Long Richard, Rain dance, 31x21 cm., four reproductions of b&w photographs on 1 plate. 12) Artists’ book: Morris Robert, Continuous
project altered daily, large sheet of light cardboard, 31x183 cm., folded 18 parts of
11x31 cm., in leporello, with reproductions of b&w photographs. 13) Artists’ book:
Nauman Bruce, L A air, 31x31 cm., [12] pages. 13) Artists’ book: Oppenheim
Denis, Flower arrangement for Bruce Nauman, 17x25 cm., booklet with a b&w
photographic illustration on a large plate (17x200 cm.) folded 9 times as leporello.
14) multiple: Rauschenberg Robert, Revolver, 24x24 cm., envelope containing
an original multiple composed by 5 perspex discs (diameter 23 cm.), silk-screen
printed in colour, 1 perspex holder to hold the discs, 1 acetate leaf and the instruction to assemble the multiple. 15) Artists’ book: Ruscha Edward, Babycakes. With
weights, 15,2X19 cm., [24] pages. 16) Poster: Smithson Robert, Torn photograph
from the second stop (rubble): (2nd Mountain of six Stops on a Section), 30x30
cm., envelope in tissue-paper containing 4 lose illustrated leaves. 17) Artists’ book:
Venet Bernar, Exploited subjects, 18,2x18 cm., [18] pages, light cardboard, bound
with four metal rings. 18) Artists’ book: Warhol Andy, [Portraits], 24,5x30,2 cm.,
acetate envelope containing 8 loose plates, silk-screen printing in colour depicting
portraits, 1 leaf with the list of the portraits. This portfolio was produced in conjunction with Artists and Photographs, an exhibition at Marian Goodman, New York,
which featured a selection of work by artists who used photographs or referenced
the history of photography in their work.Limited edizion of 1200 copies. € 9000
42. GILBERT & GEORGE [Gilbert Prousch, San Martino in Badia, Bolzano 1943
- George Passmore, Plymouth, Devon 1942], The Pencil on Paper Descriptive
Works of Gilbert & George the sculptors, London, Art For All, 1970, 20,2x12,5,
publisher’s soft cover, (12) pages, artists’ book with reproduction of 4 drawn selfportraits toned in sepia, text by Gilbert & George. Importance and aim of this work
are stated by the artists in the introduction: “It is our wish that the reader should
come to regard this booklet as an insight into an understanding of our drawings as
an explanation of our living art life. On completion of this booklet it came strongly
to us that our work on it had resulted in a sculpture”. Bound between the pages
is a business card (“complimenti”, with the best wishes) of the Gallery Konrad
Fischer. First booklet published by Gilbert & George, limited edition of 500 copies,
numbered on back cover; copy number 226, stamped with the artist’s red mark.
On back cover stamp of an important private German collection. First edition.
[Bibliography: Lailach 2005, p.120].
€ 850
43. GILBERT & GEORGE [Gilbert Prousch, San Martino in Badia, Bolzano 1943
- George Passmore, Plymouth, Devon 1942], To be with art is all we ask, London, Art for All, 1970, 20,2x12,2, publisher’s soft cover, 8 pages, artists’ book,
typographic cover, a photographic plate of the artists, text by Gilbert & George.
“This booklet illustrate with words and one late our feeling as scultore on the
subject of Art. When we did it we felt very light and we hope that you read it in the
same light”. Second booklet published by Gilbert & George, limited edition, copy
219/300, red stamp of the two artists on last page. First edition. [Bibliography:
Lailach 2005: pag. 120].
€ 1600
44. BEUYS Joseph (Krefeld 1921 - Düsseldorf 1986), So kann die Parteiendiktatur uberwunden werden, Köln, Galerie art intermedia, 1971, 75x51.5 cm., original
multiple, a polyethylene bag with plastic coated handle, printed on both sides.
One side, in black and white, is a facsimile of an handwritten text by the artist,
including the title of the work; the other side, printed in black, green and red, gives
the principles of the “Organisation der Nichtwähler für Freie. Volksabstimmung”
(Free Organisation for non-voters. Referendum), founded by Beuys in Düsseldorf.
This work was used by the artist on several occasions. An alleged run of 10.000
copies is given, actually it is a limited edition of about 500 copies. [Bibliography:
Schellmann 16].
€ 1500
45. BOETTI Alighiero (Torino 1940 - Roma 1994), L’Esperanto a colpo d’occhio, (Turin), Alighiero Boetti, no printer, 1971, 20,2x14,4 cm., printed in black
on white coated paper. Multiple “ready made” obtained from a leaflet advertising
Esperanto, reprinted and modified by Boetti with the addition: “Printed in italy,
alighiero boetti, 1971”. Boetti conceived the idea of this small poster when, giving
a conference on the occasion of the exhibition “Aktionraum 1” (held in Munich at
the gallery Heiner Friedrich), an interpreter translated his words in Esperanto; out
of interest for the universal language, he reproduced an advertising leaflet of the
association, with the only addition of his name and the date. The artist discussed
his work in the Italian newspaper “il manifesto” published on 2 April 1981 (Maffei
- Picciau 2011). Print run unspecified. First edition. [Bibliografia: Jean-Christophe
Amman (editor), “Alighiero e Boetti”, Luzern, Kunstmuseum, 1974. pag. (22); Maffei - Picciau 2011: pag. 264].
€ 2000
46. BOLTANSKI Christian (Parigi 1944), Essais de reconstruction d’objets ayant
appartenu à Christian Boltanski entre 1948 et 1954, Paris, Galerie Sonnabend,
1971 (Mars), 13,5x21,9 cm., publisher’s soft cover, pp. [8 including covers], typographical cover, artist’s book published for the first solo exhibition of the artist: “(...)
That is a small booklet accompanied His First solo show at the gallery in Paris in
1971. Sonnaben As with the work” Reconstruction de gestes ... [Reconstruction
of Gestures ...] ‘, between 1970 and 1971 he tried to reconstruct, with plasticine,
clothes, objects and the like Which might belonged to him in His childhood. This
artist’s book comes across like the parody of scientific catalog: Reconstructions
listing of 45, with no commentary at all. “(Calle). Limited edition of 3000 copies.
First Edition. [Bibliography: Calle 2008: pag. 18].
€ 700
46. GILBERT & GEORGE [Gilbert Prousch, San Martino in Badia, Bolzano
1943 - George Passmore, Plymouth, Devon 1942], “The Paintings” (with Us in the
Nature), (London), Whitechapel Art Gallery, 1971, 17,6x11,4 cm., invitation, light
cardboard with 2 small b&w photographic portraits of the artists, printed on the occasion of the exhibition held in London, Whitechapel Art Gallery, 18 - 31 June 1971.
Artists’ signatures in brown marker. First edition.
€ 1200
47. NOVE NOVE NOVE NOVE (9999) - SUPERSTUDIO, S-SPACE. Vita, morte
e miracoli dell’architettura, no place. (Firenze), no publisher, 1971 (November),
24x21 cm., publisher’s boards covered with white raw-wool, (60) pages, throughout illustrated in black ad white and colour with photographs, photomontages,
drawings and cartoon bubbles of projects and art installations of the group 9999
(Ant Farm, Ugo La Pietra, G. Chiari, Portola Institute, G. Pettena, Surperstudio, Ufo
and others). Exhibition catalogue published on the occasion of the “design happening” “Catalogo Festival n. 1”, held in the discotheque Space Electronic in Florence
(9-11 November 1971). Lay out and cover by Group 9999. Print run unspecified.
Complete copy, with the transparent envelope and the title label. First edition. [Bibliography: Navone - Orlandoni 1974: pag. 182; Pettena 1996: pag. 310]. € 3500
48. PENONE Giuseppe (Garessio, Cuneo 1947), Svolgere la propria pelle, Torino, Sperone Editore - Editarte, 1971, 21,5x21 cm., publisher’s soft cover with title
printed in black on white background, jacket in semi-transparent crepe paper, 106
unnumbered pages. Artists’ book, illustrated throughout with b&w photographs
depicting the artist’s skin, head to feet, genitals included, under a glass plate.
“Archivio o analisi o semplicemente racconto, il libro attraverso una sequenza
ininterrotta di piccole fotografie presenta lo sviluppo del corpo dell’artista. Con la
sovrapposizione di una piccola piastra di vetro registra il confine del proprio corpo
con l’intenzione di entrare in dialogo con la propria pelle.” (Maffei 2007). Design
by Franco Mello, photographs by Claudio Basso. First edition [Bibliography: Lailach 2005: pag. 152; Maffei 2007: pp. 150-151].
€ 3200
49. RUSCHA Edward (Omaha, Nebraska 1937), Records, Hollywood, Edward
Ruscha, [printer: Heavy Industry Publications], 1971, 17,8x14 cm., publisher’s
soft cover, (72) pages. Artists’ book, including 58 b&w images of vinyl records,
all from the artist’s private collection. Photographs by Jerry Mc Millan. “(...) Has
images of a record album cover on the left and the record it housed on the right.
The effect is of paired squares and circles. It seems almost to be a blending of
the two little book by Bruno Munarithet appeared in English... He has said thet
after Crackers, Records is one of his least favorite books. He was also printing it
at the same time as another book, and book, and felt like he was overdoing it...”
(Engberg - Phillpot 2001). Print run of 2000 unnumbered copies. First edition.
[Bibliography: Engberg - Phillpot 2001; pp. 74-75 volume I; B15 volume II]. € 1000
50. GILBERT & GEORGE [Gilbert Prousch, San Martino in Badia, Bolzano 1943
- George Passmore, Plymouth, Devon 1942], Side by Side. Gilbert & George the
Sculptors 1971, London - Cologne and New York, Art For All (Gilbert & George) Konig Brothers, [no printer], 1972, 19,3x12,8 cm., publisher’s rough cloth with marbled decorations and title printed in black, (15) 170 (7) pages, 85 b&w illustrations
(65 reproduction of photographs ad 20 reproduction of drawings). First true artists’
book by the conceptual artists Gilbert & George; it is composed by three chapters
(“With Us in the Nature”, “A Glimpse Into the Abstract World” and “The Reality in
Our Living”) where, in the artists’ words, “These chapters together represent a
contemporary sculpture novel” (page [9]). Limited edition of 600 numbered copies.
Copy n. 374, signed by the artists in fuchsia colour marker. First edition. € 1600
51. GILBERT & GEORGE [Gilbert Prousch, San Martino in Badia, Bolzano 1943
- George Passmore, Plymouth, Devon 1942], 1st Post Card Having a lovely time.
Wish you were here. Lots of love George & Gilbert the sculptors, London, Art for
All, Spring 1972, 14x8,7 cm., invitation post card, b&w, depicting the two artists in a
country village and “Gentlemen...” printed on the lower margin; posted, addressed
to Fred Jahm, owner of the Gallery Friedrich Heiner. Signed by the artists on the
back side. Print run unspecified. [Bibliography: Lailach 2005: pag. 120]. € 850
52. RICHTER Gerhard (Dresden 1932), Atlas van de foto’s en Schetsen, Utrecht,
Hedendaagse Kunst, 1972, 14x20,5 cm., publisher’s soft cover, 144 pages and
1 loose leaf with information about the exhibition and the catalogue. Artists’ book,
typographic cover and a short introduction by Wouter Kotte on back cover; 339
black and white illustrations (photographs and drawing by the artist). Lay-out by
Gerhard Richter. Published on the occasion of the exhibition held in Utrecht, Hedendaagse Kunst, 1 - 30 December 1972. Print run unspecified.
€ 1200
54. POLKE Sigmar (Oels 1941 - Colonia 2010) - DUCHOW Achim (Ottersdorf 1948 - Düsseldorf 1993), Franz Liszt kommt gern zu mir zum Fernsehen,
Münster, Westfälischer Kunstverein, 1973, 29,5x21, publisher’s soft cover illustrated in black and white, (148) pages, artists’ book. Several black and white
illustrations including drawings, collages made with newspapers and reproductions of photographs by Sigmar Polke and Achim Duchow printed on coloured
paper. On first page autograph drawing in pen by Sigmar Polke, signed
and inscribed to Klaus Falken - Stein. Texts by Antonio Quarta, Frank Arnau, Sigmar Polke. Published on the occasion of the exhibition held in Münster,
Westfälischer Kunstverein, 29 April - 27 May 1973. First edition.
€ 1400
53. BOLTANSKI Christian (Parigi 1944), Inventaire des objets appartenant à
un habitant d’Oxford précédé d’un avant propos et suivi de quelques réponses à
ma proposition, Münster, Westfälischer Kunstverein, [1973), 24,7x20,7 cm., publisher’s soft cover, pp. [80], typographical cover, artist’s book illustrated with
hundreds of photographs in black and white of objects, clothes and documents.
Texts in French, English and German. “As with the inventory of a woman of
Baden-Baden, this is a photographic inventory. The photographs were taken by
Peter Ibsen, director of the Museum of Modern Art in Oxford, which was what C.B.
wanted so that the report would be as neutral as possible.” (Calle). Signed by the
artist and and numbered with a stamp on the title. Signature of the book owner to
the back of both covers. First edition. [Bibliography: Calle 2008: pag. 32]. € 600
56. BOLTANSKI Christian (Parigi 1944), Inventaire des objets ayant appartenu
a una femme de Bois-Colombes, Paris, Centre Beaubourg Département des Arts
Plastiques Centre National d’Art Contemporain, 1974, 13,9x20,8 cm., publisher’s
soft cover, pp. [48], typographical cover, artist’s book fully illustrated with photographs in black and white, printed on the front only, published on the occasion of
‘exposure’ “Boltanski - Monory” held at the Centre Beaubourg in Paris. “After the
inventories of an old lady of Baden-Baden «March 1973», the young man of Oxford at the Museum of Modern Art «May 1973», the man of Jerusalem at the Israel
Museum «September 1973», and a child of Copenhagen «January 1974» at the
Louisiana Museum, there is this photographic inventory of clothes and objects of
a woman of Bois-Colombes. Chistian Boltanski had managed to get these loaned
items from a woman while she was temporarily staying with her son.” (Calle).
First Edition. [Bibliography: Calle 2008: pag. 38].
€ 700
55. KOUNELLIS Jannis (Piraus, Grecia 1936), La via del sangue, Roma, Galleria
la Salita - Collana di Perle (n. 4), [printer: Nazareno Iori - Roma], 1973 (16 March),
15,5x11,5 cm., publisher’s soft cover with endpapers, cardboard slipcase, [24]
pages; artists’s book, complete with the 7 original matches, individually pasted
on the pages, where they have been used by the artist to make slight burns.
“This little book, structured as a sequence of seven double pages, contains a real
match stuck to the paper, in perfect and emblematic symmetry, over which the
artist performs the act of lighting and burning the paper itself. Fire is the cause
and charcoal the remains of an enduring process which is repeated seven times,
the same as the numbers of weekdays indicated in handwriting on the page. The
artist’s book becomes a stage for an act, and bears witness to a performance. The
three-dimensional page, completely outside the Gutenberg tradition, becomes a
place for narration.” (Maffei). Limited edition of 250 copies, numbered and signed in pencil by the artist, one of the 30 not for sale, numbered in Roman
numerals. Slight folding marks on central portion of the cover. [Bibliography:
Maffei 2007: pp. 90 e 91].
€ 3800
57. PISTOLETTO Michelangelo (Biella 1933), Michelangelo Pistoletto,
Darmstadt, Meister der italienischen Moderna XIV, 1974, 22x22 cm, metal ringbinding, cover in light cardboard under a protective acetate leaf, [2, in light cardboard] - [38] - [2 in light cardboard] pages, artists’s book, a photographic portrait in
colour of Michelangelo Pistoletto (with embossed yellow sunglasses with mirror
glasses) on front cover, 12 silk-screen printing plates on semigloss paper, 30 b&w
illustrations. Published on the occasion of the exhibition held in Darmstadt, Mathildenhöhe, 27 April - 26 May 1974. Print run unspecified. First edition. [Bibliography:
Lailach 2005: pag. 153; Maffei 2007: pag. 178 with reproduction].
€ 1000
58. ROT Dieter [Dieter Roth] (Hannover 1930 - Basilea 1998), Murmel, no place
[Stuttgart], no publisher [H. Mayer], 1974, 11,7x18.2 cm., publisher’s soft cover
with flaps, 176 pages, artists’ book, illustrated throughout with visual poems. Limited edition of 232 copies. Copy signed and dated by the artist on back cover
and signed inside back cover. First edition. [Bibliography: D. Roth, Gesammelte
Werke Band 40, Bücher und Grafik , 2. Teil u.a.m., n. 69.].
€ 800
59. GILBERT & GEORGE [Gilbert Prousch, San Martino in Badia, Bolzano 1943 - George Passmore, Plymouth, Devon 1942], The Red Sculpture - Summer 1975,
(London), Gilbert & George the Sculptors, [no printer], no date [September/December 1975], 38,5x50 cm., publisher’s red cloth with gilt-tooled title, matching red cloth
slipcase and cardboard box, title page and 11 original photographs in colour, 30x38,2 cm., pasted on light cardboard. Title on front cover: “The Red Sculpture Album”.
Artists’ book. “The Red Sculpture” was first performed at the Art Agency Gallery in Tokyo in 1975 and in 1976-1977 in Europe and U.S.A. “In “The Red Sculpture Album”
the artists themselves, Gilbert & George, are the work of art. The album derives directly from their performances, in which they gave a stilted rendition of the English
music hall anthem “Underneath the Arches”. The performance entitled “Singing Sculpture” is on view in Gallery 1. Their art is rooted in paradox. The deliberately plain
quality of their dress has anonymous clerical overtones, and in its leveling of individuality, contrasts sharply with the brilliant red of their faces and hands. Their positions,
changing from image to image, create the impression of an impassive ritual or dance. Somehow, like Buster Keaton or Charlie Chaplin, they contrive to be ludicrous and
decorous at the same time. They are “living sculptures,” making art by being art. In their statements Gilbert & George have constantly emphasized dedication to their
task, exclaiming in mock piety, “We would like to say to you, - Art, how happy we are to be your sculptors. Oh, Art, please let us relax with you. To be with Art is all we
ask”. (G. Proesch - G. Passmore, “The Red Sculpture Album”, at the exhibition “100 Years of Sculpture: From the Pedestal to the Pixel”, Walker Art Center, Minneapolis,
22 February - 24 May 1998). Limited edition of 100 copies, hand-numbered and signed on title page by the artists “George & Gilbert”. First edition. € 20000
60. JUDD Donald (Excelsior Springs, Missouri 1928 - New York 1994), Donald
Judd. A catalogue of the Exhibition at the National Gallery of Canada, Ottawa 24
May - 6 July, 1975. Catalogue Raisonné of Paintings, Objects, and Wood-Blocks
1960 - 1974, Ottawa, The National Gallery of Canada for the Corporation of the
Nationals Museums of Canada, 1975, 27,9x22,5, publisher’s soft cover with the
artist’s name printed in black on red background, XV-[1]-320-[2 errata] pages,
4 illustrations in colour and 330 b&w. English / French parallel text. Preface by
Jean Sutherland Boggs. Graphic designer Eiko Emori. Print run unspecified. First
edition. [Bibliography: Lailach 2005: pag. 129].
€ 3000
61. BOETTI Alighiero (Torino 1940 - Roma 1994), Alighiero e Boetti, Brescia,
Galleria Banco, 1976, 97x67,8 cm., original poster, reproducing a b&w photograph by Gianfranco Gorgoni. Print run unspecified. [Bibliography: Lailach 2005:
pag. 98; Maffei - Picciau 2011: pag. 271].
€ 3200
62. GILBERT & GEORGE [Gilbert Prousch, San Martino in Badia, Bolzano 1943 - George Passmore, Plymouth, Devon 1942], The Red Boxers, London, Art for All, [no
printer], 1976 [23 January - 12 March], 8 booklets, 20,3x12,8 cm., 4 pages each, light cardboard, publisher’s covers with 8 gilt drawings (4 on red background and 4
on black background). Identification number on frontispiece and a short text (4 printed in red and 4 printed in black, on white background). Complete set, each booklet
signed by the artists, the four red ones “George & Gilbert” and the four black ones “Gilbert & George”. Each booklet in his envelope, blind-stamped “Art for All” on the
front side and alternatively printed in red and black, “Red Boxers” (“The last of the red boxers” for the last one) on the back side; the recipient’s name, hand-written by
the artists, is also alternatively in red and black. “The Red Boxers” represent a “postal sculpture”, composed by eight light cardboard booklets, sent by the artists once a
week, during the eight weeks from 23 January to 12 March 1975, to friends and customers. They includes: 1. Wooden: In the room we looked across / The Wooden Air
between (23 January). 2. Anything: They moved and paused a little / Not seeing anything (2 February). 3. Stone-ish: Leaning on the window sill awhile / Two stone-ish
faces on the floor (8 February). 4. Moved: And tilted, moved on with dry boards and then to stand (14 February). 5. Stillness: Stillness breathing through our air makes
us still breathe (20 February). 6. Come: Walking across the window glass / Dry figures come to them (27 February). 7. Study: Back on back and shooting through
the closed study (6 March). 8. Chapel: Two in the chapel with life around the suits (12 March). Posted copy. First edition.
€ 4500
64. BYARS James Lee (Detroit 1932 - Cairo 1997), “TH FI TO IN PH”, Mönchengladbach, Städtisches Museum, 1977, 19,8x15,8x7 cm, cardboard box, gilt; artists’
book composed of a box containing a large leaf of screwed up black tissue-paper;
text by Johannes Cladders, printed at the inner side of the box. Work made on
the occasion of the exhibition held in Mönchengladbach, Städtisches Museum, 21
April - 22 May 1977. Limited edition of 330 numbered copies. First edition. € 1500
63. PISTOLETTO Michelangelo (Biella 1933), Cento mostre nel mese di ottobre, Torino, Giorgio Persano, [printer: E. S. T.], 1976, 9x9 cm., publisher’s soft
cover in blotting paper, with an original drawing in black ink by Pistoletto,
[12]-[202] pages. Artists’ book, not illustrated, including 100 short descriptions of
different exhibitions, one in each page, in Italian on the front side and English on
the back side. “In cento pagine Pistoletto descrive cento mostre, non ipotetiche o
fantasiose, ma espresse con un linguaggio progettuale molto concreto, ognuna
propone una partizione differente dello spazio espositivo della galleria dilatata in
una dimensione temporale” (Maffei). “(…) questo mio lavoro attuale consiste in
cento mostre pensate e descritte nel mese di ottobre di quest’anno. Il libro è il
mezzo che ho scelto per presentare questo lavoro. L’immagine del cubo rappresenta lo spazio ideale in cui io penso ogni mostra, sia in rapporto all’interno che
all’esterno. La copertina in carta assorbente dà uno spessore reale all’inchiostro
che delinea il cubo…” (pag. [5]). Copy signed by the artist on first page. Print
run unspecified. [Bibliography: Maffei 2007: pp. 168 - 169].
€ 1400
66. NANNUCCI Maurizio (Firenze 1939): WEIERMAIR Peter (Oberbayern 1944)
(curator), Sessanta verdi naturali. Da una indagine/identificazione del colore in natura effettuata nel periodo luglio 1973/ottobre 1974, Innsbruck - Firenze, Galleria
I’m Taxipalais - Renzo Spagnoli, 1977; leporello folded in 24 pages, 11,5x33,5. cm.,
artist book with white cover, title on the spine, illustrated with 72 color photographs
of green plants (3 frames for page). Limited edition of 1000 copies, signed by
the artist. First edition. [Bibliography: De Mattei - Maffei 1998: n. 1954]. € 700
65. BYARS James Lee (Detroit 1932 - Cairo 1997), James Lee Byars, Bern, Kunsthall Bern, 1978, cm. 127,5x91,7, original poster, printed in glossy gold colour,
with a small text printed in white in the centre. Print run unspecified. Published on
the occasion of the exhibition held in Bern, Kunsthalle, 16 - 30 June 1978. Small
tear at one corner.
€ 1200
68. CAGE John (Los Angeles 1912 - New York 1992), Il treno di Cage. Cage’s
train. Le train de Cage, Bologna, Grafis Edizioni d’arte, 1979, 21x15,2, cm., light
cardboard, 32-(52) pages, artists’ book, 49 illustration, reproductions of b&w photographs by Nino Monastra. Pasted on front cover an original Multiple: a tape
cassette, entitled “Alla ricerca del silenzio perduto” (in search of the lost silence),
with sounds recorded on trains; the cassette is protected by a transparent leaf of
stiff plastic. “John Cage nel giugno del 1978, su un’idea di Tito Gotti realizza in
Italia un happening musicale, durante un viaggio di tre giorni, su un treno nelle
tratte Bologna - Porretta Terme - Bologna, Bologna - Ravenna - Bologna, Ravenna - Rimini - Ravenna” (from the back cover). Print run unspecified. Copy signed
by John Cage on title-page. First edition. [Bibliography: Giorgio Maffei - Fabio
Carboni, Sound pages. John Cage publications, Foligno, Edizioni Viaindustrie /
die Schachtel, 2012, pp. 58-58].
€ 800
67. KAWARA On (Kariya 1933), I Am Still Alive, Berlin, Edition Rene Block, 1978;
20,7x24 cm, publisher’s cloth with slipcase, pp. [414]. Artist’s book with the title printed only on the spine, 203 pages with photographic images in black and
white of telegrams sent by On Kawara to his acquaintances the text of which
is the message “I am still alive.” Artist’s book written by the author during his
stay in Berlin at the Berliner Kunstler program DAAD. Limited edition of 800 copies of which 450 numbered copies (“A”) and 350 ordinary cardboard (“B”). Copy
No. 79 edition of “A”. First edition. [Bibliography: Lailach 2005: pag. 132]. € 800
67. LA PIETRA Ugo (Bussi sul Tirino, Pescara 1938), La casa telematica. Ambiente progettato per la mostra «La casa telematica» (Fiera di Milano, aprile 1983),
(Milan), 1980/1984, Set including: 1 sketch book with several drawings and annotations, handwritten by the artist; 1 typewritten text, explaining how the
idea of “telematic house” dates back to 1972, when it was displayed in the occasion of the exhibition “Italy New Domestic Landscape” at the MOMA in New York;
4 typewritten and handwritten documents, project for the catalogue of the “Fiera di Milano” (April 1983); the printed catalogue of the exhibition “La casa telematica. A cura di Gianfranco Bettetini, Aldo Grasso, Ugo La Pietra” (the telematic house, edited by Gianfranco Bettetini, Aldo Grasso, Ugo La Pietra), Milano,
Società Editrice Katà, (1984); 27,3x21,5 cm., publisher’s soft cover, 80 pages. Exhaustive description: - 1. “La Casa telematica. Studi, 1980 - 1981”, sketch book
21x15 cm., 104 pages, note pasted on front cover by the artist (title, several drawings and autograph annotations) - 2. “Casa telematica. Soggiorno terminale”,
1982: photomontage on light cardboard, with original drawing 17x22 cm.; on the back side autograph title, signature and date. - 3. “Soggiorno terminale”, (1982);
mounting on paper, 29,7x21 cm., with autograph small drawing, title and signature. - 4. “Casa Telematica. Progetto di Ugo La Pietra. Mostra realizzata dalla Fiera
di Milano a cura di Gianfranco Bettettini con la collaborazione di Aldo Grasso e Ugo La Pietra”, April 1983; 2 typewritten leaves 29,8x21 cm., signed by La Pietra.
Text, explaining how the idea of “telematic house” dates back to 1972, when it was displayed in the occasion of the exhibition “Italy New Domestic Landscape” at
the MOMA in New York - 5. “Casa telematica. Circa 112 pagine (n. 7 sedicesimi di cui 3 a colori)”, (1983); 4 leaves 29,8 x 21 cm.: 1 typewritten with handwritten
annotation, 2 typewritten, 1 handwritten. Project of the book “La casa telematica”, Milano, Società Editrice Katà, (1984), with the drafts of the index and table of
content. Handwritten annotation of La Pietra. - 6. “La casa telematica. A cura di Gianfranco Bettetini, Aldo Grasso, Ugo La Pietra”, Milano, Società Editrice Katà,
(1984); 27,3x21,5 cm., publisher’s soft cover, 80 pages. Illustrations in b&w and in colour. Original exhibition’s catalogue.
€ 8000
68. HARING Keith (Reading 1958 - New York 1990), Keith Haring: Into 84, New
York, Tony Shafrazi Gallery, 1984; 58x 87,7 cm, original poster, printed in color
offset-lithograph for the exhibition held in the Shafrazi Gallery New York from December 3, 1983 to January 7, 1984. Cooperation between Keith Haring and Tseng
Kwong Chi. Firts edition. [Bibliography: Gundel 2002: pag. 27 with illustration, n.
11 catalogue].
€ 1200
69. CATTELAN Maurizio (Padua 1960), Marcire non marciare, Ravenna, Edizioni Essegi, 1991, cm. 88x15, original Multiple, lithography heightened in black
marker. Limited edition of 500 copies, one of 100 signed and dated by the artist. [Bibliography: Peruzzi 2012: pag. 55].
€ 5000
70. SOTTSASS Ettore jr. (Innsbruck 1917 - Milano 2007), Taccuino, no place,
1990,/1991 20,9x15,2 cm., original stiff boards covered in marbled paper, [116] pages, unpublished notebook, 8 handwritten pages entitled “Natura”; 29 full-page drawings in pencil and coloured pen depicting various subjects: architectural sketches, projects of glasses, potteries and furniture (some very ornamented),
caricatures, birds heads and some abstract compositions; 3 pages with annotations and 74 blank leaves. Very fine. From a private collection in Milan. € 9000
71. SOTTSASS Ettore jr. (Innsbruck 1917 - Milano 2007), L’Albero della vita… E
auguri per sempre / The Tree of Life… and best wishes for ever, 1993 [no date,
but about 1993], 25x17,8 cm., brochure on strong paper, 4 unnumbered pages,
original etching in green on endpaper. Sent as greeting card, possibly to Renzo
Brugola. Added: original drawing in pencil and red marker, entitled “Le radici
del futuro stanno nel cielo” (the roots of the future are in the sky), unsigned. € 2500
72. PERMANENT FOOD, Permanent Food nn. 1 - 15 [All published], 1996 - 2007, Edited by Maurizio Cattelan and Paola Manfrin.1996- 2007. 15 issues. Ns 1-8:
Illustrated throughout in b&w and colour, ns 9-15 in colour. Ns 1-8 published by A&M Bookstore, L’association des Temps Libérés, Le Consortium, (Milano) - Dijon,
Grafiche Lama - Piacenza; ns 9-14 published by Les Presses du Réel, n. 15 published by Fondazione Pitti Discovery and distributed by Les Presses du Réel. Ns 1-3
edited by Maurizio Cattelan and Dominique Gonzalez-Foerster; ns 5- 13 and n. 15 edited by Edited by Maurizio Cattelan and Paola Manfrin; n. 14 edited by Vince Aletti.
NN. 1: illustrated cover: reproduction in colour of the cover of another magazine on front cover, b&w photographic portrait of a woman on back cover. 1995, 25,3x18
cm., publisher’s wrappers, 96 unnumbered pages. NN. 2: illustrated cover: a flower on front cover and a b&w photograph of a woman on back cover. “Sometimes
nature can’t resist imitating Kenzo”. March 1996, 23,5x17 cm., publisher’s wrappers, 192 unnumbered pages. NN. 3: illustrated cover: of two puppets/bride and
groom, “I thought he was an idiot - says Alex Pursey of her new husband, George Best - a slightly famous man looking for someone to go bed with”, portrait of a
woman on back cover. October 1996, 25,3x18 cm., publisher’s wrappers, 192 unnumbered pages NN. 4: illustrated cover in colour: photograph of an half-naked
bottom on front cover, upside-down photographic portrait of a woman on back cover. 1996, 25,3x18 cm., publisher’s wrappers, 192 unnumbered pages. NN.5:
illustrated cover in colour: a man wielding a revolver on front cover, photographic portrait of Kate Moss in unmade make-up on back cover. Including a reproduction
of “Cattelanews. Il Maurizio va in Biennale!” n. 3 (Winter/Spring 1997), and the reproduction of the cover of “Permanent Food” n. 2, with review in Greek. 1997,
25,3x18 cm., publisher’s wrappers, 192 unnumbered pages. NN. 6: illustrated cover in colour. Kitchen furniture on front cover, photographic portrait of a child on
back cover. 1998, 25,3x18 cm., publisher’s wrappers, 192 unnumbered pages. NN.7: illustrated cover in colour. Two swallows in the hands of a man on front cover,
the belly of a pregnant woman on back cover. 1998, 25,3x18 cm., publisher’s wrappers, 192 unnumbered pages. NN. 8: illustrated cover in colour. Drawing depicting a man on front cover, of a man touching his genitals on back cover. 2000-2001, 25,3x18 cm., publisher’s wrappers, 192 unnumbered pages. NN. 9: illustrated
cover in colour. Axes on front cover, a ceramic dog on back cover. 2003, 25,3x18, publisher’s wrappers, 192 unnumbered pages. NN. 10: illustrated cover in colour: a beaver on front cover and a fast-food tray on back cover. 2003, 25,3x18, publisher’s wrappers, 192 unnumbered pages. NN. 11: illustrated cover in colour:
a collage on front cover, a smoking young girl on back cover 2004, 25,3x18, publisher’s wrappers, 192 unnumbered pages. (NN 12) No number: supplement of
Vogue Italia, no.634 (but 12) - illustrated cover in colour. A crowned lioness on front cover, b&w portrait of a model on back cover. 2004, 27,4x20,5, publisher’s
wrappers, 194 unnumbered pages. B (13): illustrated cover in b&w. Portrait of a man on front cover, an article about Greta Garbo on back cover. 2004, 27,4x20,5,
publisher’s wrappers, 192 unnumbered pages. NN.14: illustrated cover: an hand holding a rope on front cover, Yul Brinner in the movie “Cleopatra” on back cover.
2005, 23x16,8, publisher’s wrappers, 194 unnumbered pages. NN. 15: illustrated cover in b&w and colour, photographic portrait of Ugo Tognazzi on front cover,
photograph of the model Mitzi, by Masoud Golsorkhi, on back cover. 2007, 27,5x20,4, publisher’s wrappers, 194 unnumbered pages. Estimated run of 3000 copies.
The magazine arises from the collaboration among Maurizio Cattelan, Paola Manfrin and Dominique Gonzalez-Foerster: “A second generation magazine with a
free copyright” is the characterising statement, hidden in every issue. Established in 1996, 15 issues has been published until 2007, publishing each time a special
edition, different from the ordinary run and on different paper. It is a “cannibal” magazine, composed by illustrations from other magazines and pages cut and assembled in a different sequence than the original one, based on the principle that connecting two images previously unrelated, originate a new meaning. No writings
are present, and text are very rare, generally only quotes. Each issue is identified by an hidden sentence. [Bibliografia: Aarons - Roth 2009: pp.306-313]. € 7000
BIBLIOGRAPHY
AARONS - ROTH 2009: AARONS Philippe - ROTH Andrew, In Numbers. Serial
Publications by Artsts Since 1955, s.l., PPP Editions, 2009
ANDEL 2002: ANDEL Jaroslav, Avant Garde Page Design 1900-1950, New York,
Delano Greenidge, 2002
ARTE DELLA PUBBLICITÀ 2008: AA.VV., L’arte della pubblicità. Il manifesto
italiano e le avanguardie 1920 – 1940, Milano, Silvana Editoriale, 2008
ARTISTS MAGAZINES 2011: ALLEN Gwen, Artists magazines. An alternative
space for art, Cambridge Massachusettes – London, Mit Press, 2011
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April 2015
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