1 - 246 from DADA to COBRA - WORKS FROM THE LIBRARY of ALDO and HANNIE VAN EYCK
- Yellowed throughout as usual. Backstrip lacking portions at end; bookblock broken, backwr. loose w. sellotape stains from former repair in inner margin of backwr. and last page.
= Salaris Bibliografia p.48; Bolliger I, 269. Contains several important manifestos/ essays concerning the liberation of the word, illustrated w. a large number of typographical examples (in the text), incl. the fold. plates "Bataille à 9 étages du Mont Altissimo", "Après la Marne, Joffre visita le front en auto", "Le soir, couchée dans son lit, Elle relisait la lettre de son artilleur au front" and "Une assemblée tumultueuse (Sensibilité numérique)".
- Covers some sl. foxing; backstrip worn and loosening at spine-ends.
- Endpapers foxed. Backstrip sl. sunned; foot of spine trifle worn; backcover partly sl. yellowed. Good/ fine copy.
- Endpapers and first and final leaf foxed. Binding foxed.
- Lacks 1 tipped-in plate. All vols. spine dam. and wrappers and/ or bookblock loose(ning); frontwr. of no.10 lacks lower corner.
= No.12/13 contains a special section on Mexico by André Breton, with wrappers designed by Diego RIVERA. Bolliger II, 527: "Die (...) Zeitschrift, die mit 'La Révolution surréaliste' and 'Le Surréalisme au Service de la Révolution' das grosse Dreigestirn der surrealistischen Zeitschriften bildet. (...) 'Le Minotaure' (...) zeigt die Bewegung in ihrer neuen Phase: der Surrealismus ist zu einer Bewegung geworden, dessen künstlerische Lehren allgemeine Anerkennung gefunden haben und die ungeheure Anziehung auf die dichterischen und künstlerischen Kräfte ausüben. Minotaure wird die luxuriöseste, vielseitigste Zeitschrift und die mit der breiteste Wirkung. An der Spitze stehen Albert Skira und Tériade (...). Von Anfang an stehen die Surrealisten in engem Kontakt mit der Zeitschrift [und] legen die Herausgeber grösstes Gewicht auf die äussere Gestaltung. Die farbigen Umschläge, von suggestiver plakathafter Wirkung, werden von den bedeutendsten Künstlern geschaffen.
- Portfolio sl. soiled and backstrip discol./ yellowed.
AND 3 others on the same: DERRIÈRE LE MIROIR no.14/15 (Paris, 1948, ills., folio. Yellowed; partly split on folds, w. 2 repairs w. tape); JOAN MIRÓ (exhib. cat. Brussels/ Amst., 1956, ills. (1 col.), orig. (soiled) wr.) and A. VERDET, Joan Miró (Nice, 1957, (col.) ills., orig. wr. loose(ning)).
- Verso wr. and first and final page sl. foxed/ dustsoiled. Backstrip worn and sl. dam. at spine-ends. Wrappers soiled; upper corner of frontwr. w. 2 folds (1x strengthened on verso).
= Incl. some nice photo-montages. Fototek 1. Rössler p.169; Bolliger VI, 307.
- Some foxing. Wr. sl. dustsoiled and foxed along edges.
= Rare Maastricht provo-periodical, assembled and designed by members of "Luuks Groep", i.a. Ger Brouwer, Hans Mol and Kees Graaf.
AND 3 issues of PROVO: no.7, 9 and 13 (Amst., 1966-1967, various sizes. No.13 first leaf sl. dam.).
- Sl. yellowed and some sl. occas. marginal foxing/ dustsoiling; last leaf dam. in upper blank margin. Wrappers w. inevitable sl. wear and fraying; spine-ends split. Frontwr. and first page w. (vague) stamp "Eksemplaar ter resensie".
= Odd issue of this modernist Flemish periodical. From no.13 on, when Jozef Peeters replaced Geert Pynenburg as editor, the wrappers have striking modernist designs. The illustrations in this number i.a. comprise orig. linocuts by Jozef PEETERS and Karel MAES, and ills. after V. Huszár, Baldessari, F. Cangiullo and L. Russolo. Andel p.210-211; cf. Bolliger II, 112; Le Fonds Paul Destribats 164.
- Wappers yellowed and sl. soiled/ foxed; frontwr. a few ink specks in lower blank margin and sm. waterstain.
= With AUTOGRAPH SIGNED DEDICATION "a P.N. Van Eyck, Aldo Palazzeschi, Firenze 20 Dicembre 1915". The work was printed in only 250 copies at the author's expense, under the fictitious care of "Cesare Blanc" which was the name of his cat. "In Poemi he went against both symbolism and traditional views of the poet's public or moral role, by presenting himself as a circus performer and making personal suffering a matter of humour. When Marinetti was sent this volume, he warmly welcomed Palazzeschi into Futurism. For a few years Palazzeschi found Futurism's iconoclasm and solidarity congenial, although he never adopted its political ideology, machine aesthetics, or most radical literary techniques. (...) Palazzeschi helped establish the fruitful alliance between Futurism and the Lacerba group in 1913, which in turn brought him into closer contact with the Parisian avant-garde. However, he broke with Marinetti in April 1914 and associated himself with Papini and Soffici, the editors of Lacerba, when they ended the alliance in 1915, claiming polemically that, with their ironic approach to literature, they were the true Futurists." (Wikipedia).
ADDED: 2 AUTOGRAPH LETTERS SIGNED "Aldo Palazzeschi" to the same ("Mio caro Signore"), dated resp. 18 and 21 December 1915 (both pen and ink, 1 leaf, recto only, both w. filing holes).
= In the first letter he writes that he will collect some of his older works to give them to Van Eyck and in the second letter he apologies that he couldn't find everything and sends his regrets for not being able to meet Van Eyck before his departure. "(...) Le manderò tutto quello che mi sarà possibile racimolare delle mie più vecchie cose. In ogni modo "L'Incendiario" è il sunto, cronologicamente distribuito, della mia piccola opera di poeta (...)"; "(...) Eccole tutto quello che è potuto trovare di me ch'Ella non abbia; il resto m'è impossibile avere. E questo non per amore[?] all' opera mia carto[??], ma per accontentare il Suo desiderio (...). Buon viaggio, ricordi[?] di me. Le stringo forte forte la mano (...)". Dutch author P.N. van Eyck (1887-1954) highly admired the work of Aldo Palazzeschi (1885-1974, real name Aldo Giurlani) and named his son Aldo van Eyck after him.
- First vol. lacks 9 plates. All plates w. blue pencil number in outer corner. Pochoir by F. LEGER w. oblique fold. Portfolios soiled and worn along extremities (joints splitting).
= The portfolios show a broad range of decorative and graphic arts for the years 1928 and 1929. As the editor Antoine Roche notes in the introduction, Paris is not just the name of a city, it is also the name of a state which exemplifies Modern civilization and, most especially, the best of graphic art that one sees daily. For this two portfolios, Roche selected works that define this "New Decorative Style."
- Yellowed; 3 lvs. w. repaired tear in blank margin. Top of spine sl. dam. A good copy.
= With AUTOGRAPH SIGNED DEDICATION in red pencil on first free endpaper: "Til Van Eyck (...) Carl-Henning 1949".
- Some vague foxing; spine sl. sunned. = Høstudstillingen 1950.
Høstudstillingen 1945/ 1946. Copenhagen, n. publ., 1945-1946, 2 vols., (56); 40p., ills., orig. (not unif.) wr. designed by Uno WALLMAN and Henry HEERUP.
- Both vols. wr. foxed/ soiled (1945 sl. stained); 1946 w. sm. perforation hole in left upper blank corner.
- Yellowed. Wrappers sl. (dust)soiled; backwr. a few sm. stains; spine-ends worn.
= This text, "édité aus dépens des amis de l'auteur" (colophon) was written in Mexico and is a response to L'Honneur des poètes (1944), an anthology of resistance poetry published by Éditions de Minuit. Péret accuses the authors featured in it, notably Aragon and Éluard, of straying into propaganda poetry. Ultimately, the honor of these "poets" consists of ceasing to be poets and becoming publicity agents. This is Alain Gheerbrant's first publication before the creation of "Editions K".
= Two of 4 issues published (Slagter p.21). Contains i.a. a large number of contributions by Christian Dotremont, incl. "L'Art contre la Guerre" and in no.4 a special section on Max Ernst. The frontwr. of no.3 SIGNED in pencil by Pierre ALECHINSKY.
Dotremont, C. L'Arbre et l'arme. A propos d'une exposition Tajiri-Alechinsky. Paris, Édition "Phases", 1953, (4)p. (marked (a)-d), ills., selfwrapper. - AND 1 other by the same: La pierre et l'oreiller (Paris, 1955, 5th ed., orig. wr. Yellowed).
- Wrappers sl. yellowed and foxed. = Les Fonds Paul Destribats 590.
Phases. Introd. E. Jaguer. Amst., Stedelijk Museum, cat. 172, 1957, (36)p., ills., orig. wr., 4to.
- Sl. yellowed. Wrappers foxed and partly yellowed/ duststained.
= Contains texts by i.a. P. Alechinsky and C. Dotremont and ills. by Corneille, P. Alechinsky, B. Childs, C. Bryen and W. Lam.
- Edges sl. foxed, occas. extending into blank margins; sl. yellowed; first and last blank page partly discol. Wrappers partly yellowed; backstrip sl. worn at the top and w. sm. mounted typescript ticket.
= Monod 9073; Bolliger IV, 278.
- Yellowed, but fine.
= "Collection Dada". Bolliger I, 57; II, 60; Motherwell p.366; Harwood 62; Peterson p.62.
- Yellowed. Edges of wr. trifle discoloured. Otherwise fine.
= "Collection Dada". Bolliger I, 57; II, 60; Motherwell p.366; Harwood 62; Peterson p.62.