- No.2. spine splitting; spines sl. sunned; no.1. wr. sl. duststained and sl. nibbled by silverfish. Good to fine set.

= Complete set. Purvis, Dutch Graphic Design, p.84-86: "Preceding Zwart, Schuitema pioneereed the photograph as an important design element. Through the combination of photographs and type, he reduced the entire design to presenting essential information clearly, legibly, and quickly. This contrasted with conventional advertising, which was distinguished by a want of meaningful facts and nebulous design utilizing arbitrary, eyecatching gimmicks, decorative material, and banal illustrations."

- Joints splitting at spine-ends; backwrapper sl. scratched.

= Brusse p.46 and no.759; Maan '06, p.67; Purvis, col. plate between p.122/ 123; Maan/ Van der Ree, p.54 and p.17: "Het stofomslag en de typografie voor Ben Stromans roman 'Stad' (1933) [sic] staat aan het eind van Schuitema's meest karakteristieke typografische periode".

- Yellowed. Frontwr. a few sm. specks; joints splitting at spine-ends; foot of spine chipped. Good copy.

= Usually considered to be the 2nd, revised and enlarged edition (11th-13th thousand) of Schwitters' first work, in fact however the 3rd edition, but the 6th-10th thousand from 1919 was, strictly speaking, only a title-edition of the first edition from the same year, published as vol. 39/40 in the series Die Silbergäule. Schmalenbach, p.41: "In 1919 there appeared, in Steegemann's series Die Silbergäule, the book that suddenly made Schwitters known in avant-garde circles everywhere, and even to a wider public: the collection of poems and prose pieces entitled Anna Blume. In particular the poem "An Anna Blume," beginning with the words "O du, Geliebte meiner siebenundzwanzig Sinne, ich / liebe dir! - Du deiner dich dir, du mir. / - Wir?, " was soon on everyone's lips."

- Yellowed, more severely along margins (incl. wr.). Spine pasted over w. paper.

= Rattemeyer/ Helms p.15; Schmalenbach p.42, 208f, 178 and 225; Bolliger I, 60; II, 64; III, 107; Tendenzen der zwanziger Jahre 3/273.

- The lithogr. seal trifle foxed/ soiled and (obviously) opened, neatly torn on fold. A fine copy.

= Die Silbergäule 41/42. With the lithogr. seal reading "[frontwr.:] Vorsicht: Anti-dada Aus sanitären Gründen zugeklebt / [backwr.:] Man weise aufgebrochene Exemplare zurück. K.S. Merz. 1920". Schmalenbach p.6, 80 and 84; Bolliger I, 61 ("Die 8 Or.-Lithographien gehören zu den frühesten Merz-Arbeiten des Künstlers. Von grösster Seltenheit"), II, 65, III,105 and VI,116; Raabe 163; The Artist and the Book 278; Tendenzen der Zwanziger Jahre 3/268. "The booklet Die Kathedrale with eight lithographs by Schwitters was published in Paul Steegemann's Silbergäule series in 1920. The prints differ greatly from one another. Some are drawn in free rhythms on a light ground and present once more the motif of pseudo-functional machinery or show Dadaistically combined elements from the drawings (...). Others are compact and flat-looking "abstract" forms - rectangular or oval. (...) The Kathedrale graphics are doubtless the finest, most original works produced by Schwitters at this time, and they deserve a place of honor in the history of modern graphics" (Schmalenbach p.80).

- Owner's entry "V. Eyck" in pencil on verso frontwr. Spine splitting at ends; wr. sl. yellowed along extremities; frontwr. w. tiny waterstain in lower blank margin. Good/ fine copy.

= Rattemeyer/ Helms 1; Schmalenbach p.50 and 53; Kurt Schwitters in Nederland p.24; Bolliger I, 418; II, 519; IV, 376-377; Schwarz 91; Tendenzen der Zwanziger Jahre 3/278; Global Avantgarde Germany 40; Le Fonds Paul Destribats 204. Contains contributions by i.a. K. Schwitters (i.a. a justification for the Merz movement, an essay "Dada complet" and "Aan Anna Bloeme", translation Th. van Doesburg), V. Huszar (on his Tanzpuppe, w. ill.) and T. van Doesburg (an essay on dadaïsm); and ills. by K. Schwitters, H. Höch and F. Picabia. Rare.

- Owner's entry "v. Eyck" in pencil on first page. Spine splitting at ends; wr. sl. yellowed along extremities. Good/ fine copy.

= Rattemeyer/ Helms 2; Schmalenbach p.53 and 127; Bolliger II, 520; VI, 789; Schwarz 91; Tendenzen der Zwanziger Jahre 3/279; Le Fonds Paul Destribats 204. Contains contributions by i.a. K. Schwitters, Th. van Doesburg, I.K. Bonset and H. Arp. Rare.

- Corners sl. rounded; tiny dent in fore-edge margin throughout. Wr. sl. yellowed along margins; frontwr. w. ink specks in upper blank margin; spine partly split. Good copy.

= Rattemeyer/ Helms 7; Schmalenbach p.53; Bolliger I, 419; II, 521; VI, 790; Schwarz 91; Le Fonds Paul Destribats 204. Contains contributions and ills. by i.a. P. Soupault, K. Schwitters, T. Tzara, R. Hausmann, Th. van Doesburg, E. Malespine and H. Arp. Rare.

- Some sl. occas. foxing. Wrappers loose and sl. yellowed along margins; backwr. some sm. stains along spine.

= Rattemeyer/ Helms 9; Schmalenbach p.53; Bolliger I, 420; II, 522; VI, 791; Schwarz 91; Tendenzen der zwanziger Jahre 3/281; Le Fonds Paul Destribats 204. "Die Freundschaft von Schwitters mit Arp hat schon in 'Merz 5' ihren Niederschlag gefunden. 'Merz 6' ist zur Hälfte eine Arp-Nummer mit einem Beitrag über Arp von Tzara und Texten von Arp. In diesem Heft werden auch die Konstruktivisten berücksichtigt: Es enthält einen Aufsatz Mondrians über den Neoplastizismus, Abb. von Lissitzkys 'Proun (Stadt)', Tatlins 'Dritte Internationale', Huszars und Lissitzkys 'Heliokonstruktion 125 Volt' und einen wichtigen Text von Schwitters über die Merzkunst, über Stil und Imitation (...)" (Rattemeyer/ Helms).

- Wrappers loose and foxed/ soiled; sharp horizontal middle fold throughout; frontwr. broken on fold, other lvs. spliting at ends; all lvs. frayed and chipped, wrs. lacking portions, occas. touching/ w. loss of letters/ text. Sold w.a.f.

= Frontwr. w. ms. "Probeheft". Rattemeyer/ Helms 16; Schmalenbach p.53; Bolliger II, 523; Schwarz 91; Tendenzen der zwanziger Jahre 3/282; Le Fonds Paul Destribats 204. Contains contributions and ills. by i.a. K. Schwitters, T. Tzara, El Lissitzky, H. Höch and H. Arp. Rare.

- Wrappers sl. yellowed and some sl. wear along margins (w. a few tiny tears); frontwr. w. 2 very vague waterstains in blank fore-edge margin; spine partly splitting. A good copy.

= Rattemeyer/ Helms p.23 (full-p. ill.) and no.57; Le Fonds Paul Destribats 204; Schmalenbach p.187; Bolliger III, 191 and 193; IV, 380; Tendenzen der zwanziger Jahre 3/282a. Contains i.a. the highly important programmatic text "Ich und meine Ziele".

- Vertical middle fold throughout. Frontwr. sl. yellowed and browned along (worn and partly splitting) middle fold (first 2 lvs. also yellowed along middle fold).

= Rattemeyer/ Helms p.23 (full-p. ill.) and no.57; Le Fonds Paul Destribats 204; Schmalenbach p.187; Bolliger III, 191 and 193; IV, 380; Tendenzen der zwanziger Jahre 3/282a. Contains i.a. the highly important programmatic text "Ich und meine Ziele"..

- Yellowed as usual. Wrappers trifle dustsoiled; very vague waterstain in upper right corner frontwr.; top of spine split over 2 cm. A fine copy

= Rattemeyer/ Helms no.27b (variant w. "links auf dem Titelblatt in eigenwilliger Satzanordnung Typo-Vermerk, Verlagsname und -ort anders wiedergegeben"; also cf. Rattemeyer/ Helms 30. Also 300 copies with "Märchen" on the frontwr. replaced by "Merz 14/15" were published); Schmalenbach p.179; Hoek 749; Schwarz 91; Futurisms in the World p.533ff; Lang p.126ff; Bolliger II, 71: "Neue Wege gehende Gestaltung eines Kinderbuches. Von Schwitters, Steinitz und Van Doesburg mit rein typografischen Mitteln illustriertes Märchen. Sehr reizvoll, besonders für "grosse Kinder" und sehr selten".

- Yellowed as usual; blue on wrs. sl. faded; corners and spine-ends trifle worn; backwr. w. traces of sm. ticket in upper blank corner. A fine copy.

= Rattemeyer/ Helms no.27b (variant w. "links auf dem Titelblatt in eigenwilliger Satzanordnung Typo-Vermerk, Verlagsname und -ort anders wiedergegeben"; also cf. Rattemeyer/ Helms 30. Also 300 copies with "Märchen" on the frontwr. replaced by "Merz 14/15" were published); Schmalenbach p.179; Hoek 749; Schwarz 91; Futurisms in the World p.533ff; Lang p.126ff; Bolliger II, 71: "Neue Wege gehende Gestaltung eines Kinderbuches. Von Schwitters, Steinitz und Van Doesburg mit rein typografischen Mitteln illustriertes Märchen. Sehr reizvoll, besonders für "grosse Kinder" und sehr selten".

= Programme booklets of the Shochikuza Theatre in Osaka. Cf. Global Avantgarde Japan 3 and 4 (other issues).

- Small portion of sandpaper loose on fold of outer margin; nevertheless fine.

= The book is most famous for its sandpaper dustwrapper. Debord and Jorn wanted to use a material that would give away whether or not the reader held the book in his hands by leaving scratches. Provenance: the estate of Constant Anton Nieuwenhuys. With a light brown envelope with in ms. on front: "Asger Jorn. Guy Debord - Mémoires" in Constant's hand, "L'Anti Légende du Siècle" in unidentified hand and "Pour constant, qui s'y retrouvera. Jean-Clarence [Lambert]" (all in pen and black or blue ink).

- Fine.

= Very rare founding text of the Situationist International. "(...) ne saurait être en aucun cas mis en vente." Provenance: the estate of Constant Anton Nieuwenhuys.

- No.3 sl. foxed at the beginning and end; wr. yellowed along margins. No.5 wr. trifle frayed.

= All vols. from the "International (no. 3 "international British") edition".

- Contents loose (as often).

= Paris edition of the Situationist Times. Lithographs by i.a. P. Alechinsky, L. Castro, J. de Jong, A. Jorn, P. Klasen, W. Lam, R. Matta, A. Saura, A. Segui and Topor.