l’arengario studio bibliografico cinquante-quatre livres pour paris

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L’ARENGARIO STUDIO BIBLIOGRAFICO

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Salon International du Livre rare & de l’Autographe XIXe édition - Grand Palais - Paris - 6/9 Avril 2017

1. (Russian Futurism) GURO Elena Genričovna (Pietroburgo 1877 - Usikirko 1913), MATYUSHIN Mikhail (Nižnij Novgorod 1861 - Saint Petersburg 1934), Osennij son. P’esa v vhetyrekh kartinakh (Autumn dream. A comedy in four acts), Saint Petersburg, N. I. Butkovskaia, 1912; 19x13 cm., paperback, 57-[1] pp., colour illustrated cover with an abstract decoration green color, 5 plates outside the text of which two with black and white portraits of the Guro’s son and three color applied on a colored cardboard in sugar paper. The book contains two musical pages at end with the suite for violin and piano “Osenni Son”, composed by her husband Mikhail Matyushin. Elena Guro was an important figure, but little-known poet and painter, she was initially related with symbolist circles, under whose influence published some works, then joined with Khlebnikov, Kruchenykh and Burliuk brothers, the Gileja group, cube-futurist inspiration. The interpretation who gave the poet of the Futurism was very personal, based on a rejection of modern civilization and of an elitist conception and spiritual of the art and poetry, seen as an antidote to the vulgarity of reality. She died of leukemia in 1913 and in the same year her husband Mikhail Matyushin with Khlebnikov, Kruchenyk and Malevich published the book “Troe” dedicating it to her memory. Small patch of pur-ple ink on the back cover. Copy in excellent condition. Issue of 500 copies. First edition. [Bibliography: Markov 1968: pp. 17-18 e 388; MOMA 2002: n. 8 pag. 250]. € 2.400

“«Osennij son» (…) è dedicato alla memoria del figlio della Giro, morto ancora bambino, e cui ella continuò a pensare come fosse vivo, al punto che gli comprava giocattoli e lo ritraeva in disegni con le sembianze che immaginava avrebbe avuto nei vari stadi della vita. Nei disegni di «Osennij son» egli è un ragazzo di circa diciotto anni, alto e magro, dall’aristocratico volto sognante. L’eroe del dramma è il barone Wilhelm Kranz, un patetico sognatore, beffeggiato da gente volgare e prosaica, e coscientemente presentato come un’altra incarnazione di Don Chisciotte, e insieme come un ritratto immaginario del figlio della Giro. (…) Il dramma è seguito nel libro da alcuni brani della prosa tipicamente lirica della Giro, e quindi da due poesie in versi liberi. Uno dei frammenti di prosa, privo di titolo, ha caratteri surrealisti: è la descrizione di una creatura cavallina con un nome da cavallo (Bulanka) che però si veste e parla come un essere umano, ed è aggredita da un «koromyslon» (bilancino per trasportare i secchi degli acquaioli)”. (Markov)

2. (Futurism - Periodicals) QUARTIERE LATINO, Quartiere Latino - nn. 1- 8 [all pu-blished], Firenze, [printer: Tipografia di A. Vallecchi], 24 October 1913 / 28 February 1914, 7 issues, 31x21.8 cm., avantgarde magazine, close to the futurism, edited by Ugo Tommei. Managing editor: Guido Pogni. [Bibliography: Claudia Salaris, «Riviste futuriste. Collezione Echaurren Salaris», Pistoia, Gli Ori, 2012: pp. 580-585]. € 1.900

- Year I n. 1 (24 October 1913): 8 pp, contributions by Giuseppe Ceccherelli (Lave-dan, «Sotto la luna»), Guido Poggi («Li strozzini») and Ugo Tommei («Preludio» and «Corrado Govoni»). “Questo è il quartiere latino che non à né confini né portieri: vi si entra a piacere senza bisogno di tessere né d’abiti di rigore; vi si esce a comodo, senz’essere obbligati a nulla. Questo è il quartiere latino e vi si vive in completa libertà: ecco il programma” (Ugo Tommei, from «Preludio»).

- Year I n. 2/3 (1 December 1913): 8 pp. Contributions by Enrico Cardile, Corrado Govoni («Incongruenze»), Gian Pietro Lucini («Saltarello critico»), Camillo Sbarba-ro («Nottambulismo»). Reviews by «g.p.» (Guido Poggi), in the column «Epiloghi».

- Year I n. 4 (24 December 1913): 8 pp. Contributions by Enrico Cardile («Pel verso libero»), Gian Pietro Lucini («Saltarello critico»), Ugo Tommei («L’Esposi-zione di pittura futurista a Firenze»). Reviews by «ut» (Ugo Tommei) in the column «Prologo alli Epiloghi». One of such reviews is an heavy criticism against Mari-netti, despite the declared magazine position in favour of the futurism: “Serata futurista. La nobile teppa si sfogò ben bene al Verdi. Studentelli di bona famiglia, incaramellati rampolli di casata nobile si vendicarono dei saliti dal popolo. Dimani essi saranno legislatori, alti funzionari di giustizia, sbirri. Si fan di quella pasta. Marinetti starebbe bene con essi: egli che dopo tre ore di vigliaccheria del pubbli-co ebbe la sfrontatezza di farsi applaudire da questo pubblico col «Viva la Libia». Delatore del futurismo artistico! Egli doveva gridare la parola suprema che i suoi amici avevan in punta di lingua - e che non dirò - per non dar spago alla R. Que-stura. Ma l’alta marea dell’arte travolgerà questo borghesuccio che non conosce il popolo - e sarà tanto di guadagnato per li amici suoi”.

- Year II n. 5 (Florence 14 January 1914): 8 unn. pp. Contributions by Camillo Sbarbaro («A una donna»), Giovanni Titta Rosa («Estetica di Contenuto»), Gian

Pietro Lucini («Saltrello critico», Giuseppe Ceccherelli (Lavedan, «Strimpellata ad Antignano» e «Gli occhi dell’Etèra»), Ugo Tommei («Ai giovani»). Reviews by Ugo Tommei, in the column «Epiloghi», including «Lettere di Maso contadino».

- Year II n. 6 (31 January 1914): 8 pp. Contributions by Arcangelo Distaso («Papini e Prezzolini»), Guido Poggi («La morale e suo figlio», Arthur Jehande («Canzone triste»), Giovanni Titta Rosa («Amaro»), Ugo Tommei. In the column «Epiloghi», more reviews by Guido Poggi and Estello di Ravasca (?).

- Year II n. 7 (15 February 1914): 8 pp. Contributions by Luigi Adanti («Passione»), Arcangelo Distaso («Letamaio»), Arthur Jehande («Ilarità»), Camillo Sbarbaro («Incontro»), Giuseppe Sbodio, Carlo Stuparich («Al mio cuore»), Ugo Tommei («Libertà»). Contributions by Donato Fattore in the column «Epiloghi».

- Year II n. 8 (28 February 1914): 8 pp. Contributions by Luigi Adanti («Ufficii»), Gerolamo Da Tregiana («Letamaio»), Arcangelo Distaso («Io giurai il falso»), G. Fichtner, Augusto Hermet, Arthur Jehande («Ideale»), Camillo Sbarbaro («Per-dizione»), Giuseppe Sbodio («Il pateracchio»), Giovanni Titta Rosa («Pause»), Italo Tavolato («I professori. Un insulto»), Ugo Tommei («Soste»). In the column «Epiloghi»: two letters by Guido Fichtner and “Maso”, addressed to Ugo Tommei, and reviews by Giuseppe Sbodio and Ugo Tommei. Last issue published.

“Insieme con Lucini, esercita un grande fascino sugli autori di «Quartiere Latino» Govoni, del quale si apprezzano la genuinità dell’ispirazione poetica, la duttilità intellettuale, la disponibilità a riciclarsi e a rinnovarsi, in assoluta liberà da ogni condizionamento (...). Infine, «Quartiere Latino» confluisce in «Lacerba». E’ si-gnificativo il fatto che, quando chiude le sue pubblicazioni, la rivista garantisce agli abbonati di avere in sua vece i fascicoli lacerbiani. Il direttore della rivista, nel riconoscersi interamente in «Lacerba», fa questa professione di fede: «è dovere per chi accetta il proprio tempo e ne sente la bellezza, di unirsi a difendere chi codesta bellezza cerca concretare. Per questo e non per altro oggi, caro Papini, io ò la soddisfazione di dirmi e sentirmi completamente futurista” (LACERBA, Anno II, n. 9, 1/5/1914)” (Ugo Piscopo, in AA.VV., «Il dizionario del Futurismo», Firenze, Vallecchi – Mart, 2001: vol. II pp. 945-946).

3. (Futurism) GINNA Arnaldo (Arnaldo Ginanni Corradini, Ravenna 1890 - Rome 1982), Pittura dell’avvenire, Firenze, Edizioni de L’Italia Futurista, 1917, 21x16.3 cm., paperback, 55 (1) pp., sanguine illustration by the author on cover, 1 photographic portrait, sanguine tuned, of the author.Preface by Bruno Corra. First edition. € 2.000

[Bibliography: Salaris 1988: pag. 40].

“La più completa esposizione dei pensieri di Ginna sulla rappresentazione pittorica degli stati d’animo e della sfera del subcosciente si trova nello scritto “Pittura dell’avvenire”” (F. Tedeschi, in Godoli 2001: vol. I pp. 537-538). “Si è detto che la pittura chiamata “pittura degli stati d’animo” è personale e soggettiva. Rispondo che si può concepire solo un’arte che sia personale, chè un’arte impersonale e oggettiva sarebbe la copia della realtà, e perciò nessuno se ne interesserebbe. Delle forme che non rappresentano né un albero né una faccia umana nè una casa e nulla di ciò che vediamo nella così detta realtà, hanno le stesse possibilità di esistenza della realtà stessa. Basterebbe sostituire una delle leggi già enunciate della meccanica con un’altra, delle leggi vegetali minerali o animali, con un’altra, perché ci si offrisse alla vista un mondo nuovo. Sempre l’arte ha rappresentato un mondo nuovo, diverso da quello di tutti i giorni; e noi vogliamo dipingere un mondo sempre più nuovo; vogliamo dare sempre altre facce della natura” (pp. 37-38).

4. (Estonian Futurism - Cubism) SEMPER Johannes (Pahuvere 1892 - Tallin 1970), Näokatted [Maschere], Tartu, Odamees (on cover: Odamehe kirjastus], 1919, 21.5x16.7, 102-[2] pp., 2-colours illustrated cover by Ado Vabbe. Collec-tion of essays, including a long chapter devoted to Futurism, based on a con-ference held by F. T. Marinetti in Tartu, on the 18th of February 1914 and with excerpts from different programmatic futurist manifesto. A chapter is also devo-ted to the Estonian artist Ado Vabbe, who spread futurism and expressionism in his country. First edition. [Bibliography: Salaris 2015: pp. 302-303]. € 800

5. (Ultraism) CANSINOS ASSENS Rafael (Seville 1882 - Madrid 1964), El movi-miento V P. Novela, Madrid, E. “Mundo Latino”, 1921, 19.5x13 cm., paperback, 257-(5) pp., colour drawing by Alberto Diaz on cover. Ownership signature on title page. First edition. [Bibliography: Bonet 1995: pag. 137; Salaris 2015: pag. 981]. € 700

“Estraordinario documento de epoca, y muy mal acogida por sus ex-discipulos caricaturizados en ellaver como boton de muestra la critica de Guillermo de Torre, “el poeta mas joven.” (Bonet).

6. (Belgian avant-garde) VAN OSTAIJEN Paul (Anversa 1896 - Miavoye-Anthée 1928), Bezette stad. Originalhoutsneden en tekeningen van Oskar Jespers, Antwerpen, Uitgave van het Sienjaal, 1921, 28x22 cm., paperback, 154 pp., 2-colours cover, 4 b/w lithographs and 2 2-colours parolibere (“words in freedom”) compositions. Issue of 540 numbered copies. All poems in parolibero (“words in freedom”) style and different types. One of the most significatn work of the international avantgarde. [Bibliography: Ex Libris 10/1983: n. 62; Salaris 2015: pp. 105-107; Vanguardia Aplicada 2012: pag. 233, CAT L. 70]. € 3.800

“The volume is a block of over a hundred and fifty pages composed entirely of words in freedom and illustrated with five abstract engravings by Oskar Jespers, author of a drawing on the cover as well. Its use visual language to recount wartime events resembles Marinett’s «Zang Tumb Tuum» (1914, v. Futurist books), inspired the siege of Adianople during the Firs Balkan War in 1912. All the principles defined by the founder of Futurism are applied in «Bezette Stadt»: the destruction of syntax and punctuation, the abolition of I, the materiality of the word, onomatopoeia, the «typographic revolution» that allowed the page to be set using lettering of different shapes and sizes, as well as different colored inks, a free and expressive approach to spelling in which words were deformed and remolded by cutting them short or elongating them and the visual analogy. For this book Oskar Jespers also created special characters that were not available at the print shop”. (Salaris)

7. (Hungarian avant-garde) KASSAK Lajos (Ersekujvar / Cacoslovacchia 1915 - Budapest 1967), Világanyám. Összes versei. Elsa könyv, Wien, Bán Verlag, 1921, 24x16 cm., paperback, 146-[2] pp., typesetting by Sándor Bortnyck on cover. Collection of poems, including several “parolibere” (“words in freedom”) plates. First edition. [Bibliography: Salaris 2015: pp. 1170-1173]. € 900

“Lajos Kassak’s volume (…) is a collection of poems written between 1914 and 1921, some of which include onomatopoeias (like «Brrr… bum …Bumbum…bum») that are clearly imitations of Marinetti’s work, as well as typographic illu-strations that are derived from Futurist words in freedom.” (Salaris)

8. (Russian Futurism) KHLEBNIKOV Velimir (Malye Derbety 1885 - Krestcy 1922), Zangezi, Mosca, OGES, 1922, 16,4x24,6, soft cover, 35-[1] pages, drawing by Petr. Miturich on front cover. Khlebnikov’s poem, one of his most signi cant 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. [Bibliografia: Markov 1973: pag. 384; MoMA 2003: n. 417]. € 1.800

9. (Dada - Futurism - Music) RIETI Vittorio (Alezandria 1898 - New York 1994), Tre marcie per le bestie per pianoforte. I. Marcia funebre per un uccellino - II. Marcia nuziale per un coccodrillo - III. Marcia militare per le formiche, Bologna, Pizzi & C. Editori, [no printer], 1922 [September], 33.2x24.4 cm., paperback, 12 pp., title printed in red on light background on cover. Musical scores. First edition. [Bibliography: Domenico Cammarota, «Futurismo. Bibliografia di 500 scrittori italiani», Trento - Milano, MART - Skira, 2006: n. 399; AA.VV., «Dada l’arte della negazione», Roma, De Luca, 1994: illustration pp. 125-127 and pag. 360]. € 900

“Nello stesso periodo delle attività evoliane, un Dadaista inconsapevole è il giovane compositore Vittorio Rieti... Frequentando a Roma la redazione della rivista «Ars Nova», dove conoscendo Alfredo Casella, Malipero e Mario Castelnuovo Tedesco, Rieti milita per le nuove ricerche d’avanguardia cogliendo gli umori, tra futurismo e dadaismo, degli ambienti romani. Compone in questo modo, nel dicembre del 1920, le «Tre marce per le bestie»... seguendo l’esempio delle spiritose «Trois petites marches funèbres» dell’inglese Lord Berners, alias Gerald Tyrwitt, con cui è in contatto a Roma. (...) Rieti si recò a Vienna con una lettera di presentazione di Respighi che gli permise di incontrare Schönberg e di essere introdotto nel salotto di Alma Mahler frequentato da artisti e intellettuali. Conobbe così Franz Werfel, Alban Berg e Nelly Van Doesburg. La compagna di Van Doesburg, molto interessata alla musica d’avanguardia italiana, restò poi in contatto con Rieti e accolse con entusiasmo la partitura delle «Tre Marcie» che il compositore le inviò da Roma. Il 23 settembre 1922, nel corso di una serata dada organizzata da Tzara all’Hotel Furstenhof di Weimar, in occasione del congresso d’artisti d’avanguardia, Nelly eseguì così al piano le «Tre Marcie» di Rieti davanti a un gruppo di dadaisti e costruttivisti, di cui faceva parte anche il futurista Vasari, riportando un grande successo. Le musiche furono ancora eseguite al piano da Nelly in altre serate dada in particolare il 10 gennaio 1923 all’Haagse Kunstkring dell’Aia... il 6 e il 7 luglio, in occasione della celebre «Soirée du Coeur à barbe» al Théatre Michel di Parigi... Le «Tre Marcie» di Rieti risultano storicamente come le musiche dadaiste più eseguite nelle manifestazioni del movimento. Eppure Rieti era convinto di aver composto una partizione timidamente futurista”. (Giovanni Lista in: AA.VV., «Dada l’arte della negazione», Roma, De Luca, 1994: pp. 125-127).

Kurt Schwitters and Theo van DoesburgKleine Dada-Soirée..., The Hague, 1922

10. (International avant-garde) ARP Jean (or Hans) (Strasbourg 1887 - Basel 1966), LISSITZKY El [(Lazar’ - or Eliezer - Markovic Lisickij] (Pocinok 1890 - Mo-scow 1941), Die Kunstismen. Herausgegeben von El Lissitzky und Hans Arp - Les ismes de l’art - The Isms of Art 1924 - 1914, Erlenbach, Zürich, München und Leipzig, Eugen Rentsch Verlag [Stähle und Friedel - Stuttgart], 1925; 26.4x20.5 cm., publisher’s boards, XI (1) 48 pp. 75 b/w illustrations, depicting works by Eg-geling, Tatlin, Grosz, Lissitzky, Schwitters, Mondrian, Van Doesburg, Vantonger-loo, Ozenfant, Jeanneret (Le Corbusier), Picabia, Ernst, Arp, Man Ray, Delaunay, Malewitsch, De Chirico, Carrà, Kandinsky, Rodtschenko, Moholy-Nagi, Picasso, Archipenko, Boccioni, Severini, Balla, Russolo, Chagall and several others. In chronological order are shown: Abstract movie, Constructivism, Verismo, Proun, Compressionism, Merz, Neoplasticism, Purism, Dada, Simultaneism, Suprema-tism, Methapysical art, Abstract art, Cubism, Futurism, and Expressionism. First attempt to retrace an history of the avantgardes. First edition. [Bibliography: Schwarz 1976: pag. 500 illustrations]. € 2.800

11. (Bauhaus) BUCHHOLZ Erich (Bromberg 1891 - Berlin 1972): AA.VV., Sammlung Gabrielson – Göteborg. Mit Beiträgen von Adolf Behne – Ludwig Hilber-seimer – S. Friedlander-Mynona, (Berlino), Albert Frisch, 1925; 23x20.8 cm., pa-perback 72 pp. Cover and lay-out by Erich Buchholz, 1 colour plate and 29 b/w illu-strations, depicting 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, F. Stuckenberg. First edition. [Bi-bliography: Eckhard Neumann, “Functional Graphic Design in the 20’s”, New York, Reinhold, 1967: pag. 24 n. 26; Vanguardia aplicada 2012: pag. 279, L175]. € 1.200

12. (Spanish avant-gardes) MILICUA E IRALA (DE) Fernando Maria (Chihuahua/México 1900 - Madrid 1977), Poemas cortos en prosa, Guernica, Imprenta moderna, 1925, 17.5x12.5 cm, paperback, 84-[4] pp., line-drawing by José Maria Urcelay (Bermeo, Vizcaya 1903 - 1979) on cover. Collection of poems and poetical prose with experimental visual poetry, sound poetry and prose, calligrams. Volume enriched by an original surrealist drawing on back cover. Issue of 500 numbered copies. Some foxing, as expected for this kind of paper. First edition. [Bibliography: Bonet 1995: pag. 417; Pariente 2003, pag. 207; Wentzalaff - Eggebert 1999: n. 2.900]. € 2.400

“Publicó un único libro, firmado con su nombre completo, Fernando María de Milícua e Irala: Poemas cortos en prosa (Guernica, Imprenta Moderna, 1925), con cubier-ta de Uclay, a quien está dedicado el titulado “Holanda”…. Entre las composiciones que contiene este singular volumen, de sabor entre ultraísta y Dadá, y en el que hay varios fragmentos caligramáticos, merecen citarse “Poema escrito bajo el agua”, “Carteles en la calles”, “Si-ri-mi-ri”, “5 naciones de Europa” y “A caballo, río y martín pescador”, poema fonético con el que se cierra el libro, y precedido de la siguiente advertencia: “La fe que perdí en la palabras la encontré en los sonidos”. (Bonet).

13. (Latvian avant-gardes) AA.VV., 1930. Preses Balle. Laika grāmata. Latvju rakstrnieku un žurnālista arodbiedrība, Rigā, 1930, 12.5x8.2, paperback, 32 pp, red and black types printed on cover (cover by Niklāus Strunke). Illustrated bo-oklet, constructivist drawings and typesetting by Niklāus Strunke. Small calendar with poems by Karlīs Skalbe, Jānis Jaunsudrabiņš, Pāvils Rozītis, Kārlis Eliass, Jūlijs Lācis, Lucija Zamaič, Ludvigs Šantēklers, Rožmīlis, Adolfs Erss and others. [Bibliography: Salaris 2015: pp. 655-657 con illustrazioni]. € 600

“The images, constructed by typographic elements, arise in the wake of «alfabeto a sorpresa» [alphabet by surprise] «Caffeconcerto» by Francesco Cangiullo, a genre that was particularly popular in the European avant-garde: it has also inspi-red Kurt Schwitters, Kate Steinitz, Theo Van Doesburg in the 1925 children’s book «Die Scheuche [the Scarecrow]»”. (Salaris)

14. (Central American avant-garde) ASTURIAS Miguel Angel (Guatemala City 1899 - Madrid 1974), Leyendas de Guatemala. Primera edicion, Madrid, Edicio-nes Oriente [printer: Imprenta Argis - Madrid], 1930 (18 April); 19.4x12.5 cm., paperback 207 (1) pp. Colour illustration by Ramon Puyol (Ramon Puyol Roman, Algeciras 1907 - 1981) on cover and 42 illustrations inspired from Maya orna-mental motifs. Fundamental book, displaying the moral and spiritual dignity of the Indian people. Work difficult to be placed in a specific literary genre. Issue of 200 copies: 100 “en papel de lujo”; 2 “en papel registro”, not for sale, for the author; 35 numbered 3-37, “en papel marfil” and “in Spanish style”, for the Club Rotario de Guatemala; 63 “en papel a la rústica”. One of the unnumbered 63 copies. First edition. [Bibliography: cfr. Jean-Philippe Barnabé, “Nota filologica preliminar”, in Miguel Angel Asturias, “Cuentos y Legendas”, Alca XX - Ediciones Unesco, 2000; pag. XXIX); Bonet 1995: pag. 69 con illustrazione]. € 800

15. (Bauhaus) 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 black and white 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. First edition. € 1.200

16. (Brazilian Futurism) ALMEIDA Renato (1895-1981), Velocitade, Rio de Janei-ro, Schmidt, [1932], 19.2x13 cm, paperback, 133-[3] pp., beautiful two-colours ab-stract/geometrical cover. Futurist text concerning the cult of speed in contempora-ry literature and music. Some pages are dedicated to F. T. Marinetti; references to futurist exponents (Luigi Russolo, Graça Aranha, Arthur Honegger, Vladimir Maja-kovski, Mario De Andrade) and to several others avantgarde writers and musicians are present. Unimportant foxing. Spine skilfully restored. First edition. € 1.400

17. (Futurism) TORDI Pietro (Firenze, 12 luglio 1906 - 1990), Ingranaggio di sin-tesi. L’imbucatura. Qui si beve. Qui si parte. l’inerzia viva. Stato civile terra. Prefa-zione di Antonio Marasco. Scenotecnica di Rodolfo Coghei. Commenti musicali di Vincenzo Ciampolini, Milano, Impresa Editoriale Lino Cappuccio - Scrittori del 2000 (on cover: Futurismo Italiano Indipendente diretto da Antonio Marasco), 1934 (15 January), 23.8x17.5 cm., paperback, pp. 55-(9), typographic cover, 2-colours title, 5 b/w vignettes depicting set design by Rodolfo Coghei, 1 full page typographic vi-gnette (parolibero (“words in freedom”) statement of the Italian Independent Futurist Movement) at the end. First edition. [Bibliography: Salaris 1988: pag. 70]. € 2.500

18. (Concrete art) BILL Max (Winterthur 1908 - Berlin 1994), Konkrete Kunst. 10 Einzelwerke ausländischer Künstler aus Basler Sammlungen - 20 ausgewählte grafische Blätter - 30 Fotos nach Werken ausländischer Künstler…, Basel, Ba-sel Kunsthalle [printer: Benno Schwabe - Basel], 1944 (March), 21.1x14.7 cm., paperback, 64 (16) pp., continuation of title: “10 Oeuvre-Gruppen von Arp, Bill, Bodmer, Kandinsky, Klee, Leuppi, Lohse, Mondrian, Taeuber-Arp, Vantongerloo”. Cover and lay-out by Max Bill. 32 b/w illustrations by: W. Baumeister, V. Egglin, J. Hélion, El Lissitzky, K. Malewitsch, L. Moholy-Nagy, A. Pevsner, K. Schwitters, A. Magnelli, C. Brancusi, A. Calder, N. Gabo, F. Kupka, M. Moss, B. Nicholson, R. P. Lohse, W. Bodmer, L. Leuppi, M. Bill, H. Arp and many others. Introductions by Max Bill and Jean Arp. Issue of 900 copies. From the collection of the architect Paolo Antonio Chessa (Milan 1922 - Pescara 1981), with his autograph monogram on cover. Complimentary copy. Joined: typed accompanying letter, letterhead “Basler Kunstverein”, dated 16 September 1944, signed by one of the company’s manager and addressed to Paolo Antonio Chessa. Original catalogue of the first exhibition of concrete art. (Basel, Kunsthalle, 18 March - 16 April 1944). € 450

19. (Bauhaus imaginist) JORN Asger (Vejrum 1914 - Aarhus 1973), Immagine e forma, (Milan), EPI Editoriale Periodici Italiani, “Bollettino d’Informazioni del Mouve-ment International pour un Bauhaus Imaginiste n. 1”, , 1954 (30 October), 33x22,8 cm., paperback with 2 staples, 12 unn. pp. Italian translation by Sergio D’Angelo. On some copies is pasted a printed label “Eristica. Bollettino d’Informazione del Mouvement International pour un Bauhaus Imaginiste, n. 1”. First edition. € 550

“(...) In questo saggio l’artista danese riprende le tematiche legate all’idea del Bauhaus, sviluppando una serrata critica del funzionalismo, letto come contralta-re di Dada e dell’Espressionismo e giudicato, come tale, portatore di una «parola (che) ha perso il suo mordente», cui occorre controbattere con la scoperta di «nuove jungle caotiche attraverso esperienze inutili o insensate». Le tesi di «Im-magine e forma» vengono riprese, quasi letteralmente, nell’intervento pronuncia-to da Jorn al Congresso Internazionale dell’Industrial Design, in diretta polemica con Max Bill, che riaffermava nella sua relazione una visione della forma come unità armonica di tutte le funzioni, il cui risvolto sociale consiste nella produzio-ne industriale di oggetti di qualità estetica elevata. (Sandro Ricaldone, «La forza dell’instabilità: “l’avventura incompleta” del Bauhaus immaginista», 2003)

20. (Artists’ books) DUCHAMP Marcel (Blainville, Rouen 1887 - Paris 1968), Mar-chand du sel. Ecrits de Marcel Duchamp, réunis et présentés par Michel Sanouil-let. Bibliographie de Poupard-Lieussou, Paris, Le Terrain Vague - Collection “391”, 1959, 19x14.5 cm., paperback, 231-[1] pp., b/w photo portrait of author on cover, 1 fold. plate printed on plastic coated paper (photographic reproduction of Du-champs’s work “La mariée mise à nu par ses célibataires”), 22 b/w full page plates depicting works by Duchamp. Entirely illustrated with line-drawings by the artist. Collection of texts by Marcel Duchamp, collected and introduced by Michel Sanouil-let. Bibliography by Poupard Lieussou. Issue of 2.050 copies. First edition. € 500

21. (Artists’ books) SPOERRI Daniel (Galati, Romania 1930), Topographie anécdotée du hasard, Paris, Editions Galerie Lawrence, 1962, 18.5x13.5 cm, paperback, 53-[3] pp., artist’s book, typographic cover, 1 fold. table. Artist’s autograph inscription, dated “22. 4. 1968” on first page and annotation in red ink on pag. 40. Is-sue of 1000 unnumbered copies. First edition. [Bibliography: Maffei - Paterlini 2015: pp. 62-63]. € 800

“Daniel Spoerri’s Topography, published in Paris in 1962, was certainly one of the first works of the new renaissance of the artist’s book in the early Sixties. Consisting purely of text, with just one schematic drawing. It is an austere book that presents an obsessive visual description of all the items placed on the table in Spoerri’s hotel room in Paris at a given time on a certain day. The printed pages are intended to bring the physical world of things into contact with memory, from which he derives an unusual communicative combination. Eighty objects are commented on with just a few personal memories. The texts is written on two levels, emphasised by the use of different typeface, that of the descriptions and that of the anecdotes. The drawing is not a realistic depiction of the objects but rather a schematic definition of their positioning. At the back of the book there is even an index of the persons named, with brief biographical details. Spoerri also made some changes to artists’ traditional approach to books: he was the first to use an exhibition in a private gallery as an occasion to print an artist’s book instead of an invitation or catalogue, and used it as such, sending each of the visitors a free copy. Although a sculptor, he chose writing as a means of expression parallel to his artistic practice, using books as a new artistic medium rather than a communication tool.” (Maffei - Paterlini)

22.(Poesia visuale) SARENCO [Isaia Mabellini] (Vobarno, Brescia 1945), Grande strage [prima tiratura], 1963, 200x140 cm., large combaina-ble plate, composed of four panels (50x70 cm for each), important work of visual poetry, one of the first created by the artist. Silk-screen printing. Copy with autograph signature. First edition. € 4.500

23. (Fluxus) MACIUNAS George [Jurgis Maciunas] (Kaunas, Lithuania 1931 - Boston 1978), Fluxus Preview Review [Fluxroll], Colonia - Mülheim, Fluxus, [no printer], 1963 [April/May], 167x10 cm., three leaf of glossy paper, glued together and rolled, b/w print on both sides, several b/w photographic illustrations. Design by George Maciunas. First catalogue of Fluxus actions and editions. Copy signed by Robert Watts. First edition. [Bibliography: Archivio della Fondazione Luigi Bonotto: Code FX1090]. € 1.500

Editorial board: George Maciunas (director), Nam June Paik e Emmett Williams (assistant), Tomas Schmit (administration, in Germany, Cologne-Mühleim). American department: La Monte Joung, Jackson Mc Low, Dick Higgins, Benjamin Patterson, Jonas Mekas. French department: Daniel Spoerri e Jean Clarence Lambert. East Eu-rope department: Josef Patkowski e Henry Flynt. Japanese department: Toshi Ichiyanagi e Yoko Ono. German department: Jean-Pierre Wilhelm e Heinz-Klaus Metzger. Scandinavian department: Arthur Köpke e Karl Erik Velin. Italian department: Sylvano Bussotti. British department: Michel Horowitz e Robert Page. Austrian department: Kurt Schwertsik. Canadian department: Pierre Mercure. Recto: list of the 9 «Fluxus Yearboxes» scheduled for 1963-1965; the «Special Editions» 1961-1963, already pu-blished and in print, labeled “a” to “u”; (including the “g” issues «Nam June Paik Fluxus publications g series», scheduled for 1963-1973); musical scores. Verso: list of Fluxus actions and performances (performed and expected) 1960-1963 by E. Andersen, R. Filliou, D. Higgins, T. Ichiyanagi, A. Knowles, T. Kosugi, A. Koepcke, J. Mac Low, G. Maciunas, J. Mekas, N.J.Paik, B. Patterson, T. Schmit, D. Spoerri, R. Watts, E. Williams, G. Brecht, L.M. Young, A. Kaprow, R. Maxfield, B. Vautier, Y. Ono, H. Flynt and others.

24. (Fluxus box) BRECHT George [George Ellis MacDiarmid] (New York 1926 - Cologne 2008), Water Yam. Arranged by George Brecht, (New York), Fluxus “No. C”, [no printer], no date [June 1963], 16.3x14.8x4.2 cm., cardboard box, sliding lid with pasted label printed on wrapping. Design by George Maciunas, typesetting by Tomas Schmit. The box contains 72 cards (19 white and 53 orange) of different sizes. First edition. [Bibliography: Archivio della Fondazione Luigi Bonotto: Code 0329E 1/6; «Fluxus Codex», 1989, pag. 216]. € 2.500

At the end of 1962 George Brecht and Robert Watts developed a project “for all manner of immaterial, experimental, as yet unclassified forms of expression” («George Brecht Events. A Heterospective», Robinson, Walter König, pag. 68), and called it «Yam». The yam is an edible tuber from plants of the genus Discorea, but in North America this name is commonly attributed to sweet potatoes. The choice of such a word is coherent with the goal of the two artists: to organize a festival where works and events are inspired by every-day life, suggesting meditation and removed from the art market proposing objects that cannot be bought. The Yam Festival started on 19 May 1963, in a farm at South Brunswick, New Jersey, and during a month a long series of events took place at the Rutger University in New York and in the farm owned by George Segal. Among the numerous participants were: John Cage, Dick Higgins, Allan Kaprow, La Monte Young, Wolf Vostell, Alison Knowles and other prominent Fluxus artists: “In all of its formats and strategies Brecht’s and Watt’s Yam Festival operated as an alternative to the gallery system, producing «art» that could not be bought” (Julia Robinson, in «George Brecht Events. A Heterospective», Robinson, Walter König, pag. 68). The Yam Festival took place at the same time of the Fluxfest organized by George Maciunas, an event based on the same principle, but of European origin, as Maciunas lived in Germany. The box, where samples from the festival events are collected, is among the very first “boxes” produced by Fluxus (no. C).

25. (Fluxus box) WATTS Robert (Burlington, Iowa 1923 - Martins Creek, Pennsylvania 1988), Robert Watts Events, (New York), Fluxus, [no printer], 1964, 13x18x3 cm., red plastic box with transparent lid, black title on gray/green background printed on a label pasted on the lid, design by George Maciunas. The box contains a plastic banana and 96 cards of different size, where are printed texts and images referring to possible events, performances, actions etc., many of which realized during the Yam Festival organized by George Brecht (1962-1963). The box also contains a flyer «Premi alle edizioni Bompiani», apparently not belonging to the multiple. First edition. [Bibliography: Archivio della Fondazione Luigi Bonotto: Code 0273E 1/3]. € 1.800

26. (Artists’ books) POLKE Sigmar (Oels 1941 - Cologne 2010) - RICHTER Gerhard (Dresden 1932), Polke / Richter, Hannover, Editions CR: 3, 1966, 23.9 cm x 15.9 cm, pa-perback, [20] pp., artist’s book, typographic cover, 13 b/w photographic illustrations. Collection of excerpts from novels by Perry Rhodan, newspapers cuttings and statements by the two artists. A short biography of Sigmar Polke and a list of his major exhibitions is presented at the beginning of the book and a short biography of Gerhard Richer and a list of his major exhibitions on the last page. Published on the occasion of the exhibition held in Hannover, Gelerie h, 1-26 March 1966. Issue of 500 copies. First edition. € 3.000

“Sigmar Polke and Gerhard Richter in March 1966, Polke and Richter exhibited together under the title “Pop? Capitalist Realism?” at the Galerie h in Hannover. The exhibition was followed by a solo exhibition by Konrad Lueg in June the same year. The founder of Galerie h, August Haseke, had himself studied at the Art Academy in Düsseldorf and was friends with Lueg, who’d introduced him to Polke and Richter. Haseke had moved to Hannover to work as an art teacher, and ran the gallery in parallel from 1965 to 1970”. [http://artistsspace.org/exhibitions/living-with-pop]

27. (Photobook - Pop Art) MULAS Ugo (Pozzolengo, Brescia 1928 - Milan 1973), New York: Arte e persone. Fotografie di Ugo Mulas. Testo di Alan Solomon. Design di Michele Provinciali, Milano, Longanesi & C., “I Marmi 47”, [printer: Stabilimenti di Arti Grafiche Alfieri & Lacroix - Milano], 1967, 34.8x24.7 cm., hemp publisher’s binding, gilt title, dust-jacket, 337 (7) pp, b/w photograph printed on the entire cover (front and back), orange and white titles. Entirely illustrated with b/w photographs by Ugo Mulas. Portrayed artists: Bontecou, Chamberlain, Dine, Duchamp, Johns, Lichtenstein, Newman, Noland, Oldenburg, Poons, Raushenberg, Rosenquist, Segal, Stella, Warhol, Wesselmann. Gli artisti sono fotografati nei loro studi men-tre lavorano. Some of them, like Jasper Johns and Kenneth Noland, are portrayed here for the first time. First edition, in the same year was published the English tran-slation: «New York: New Art Scene»: “Pubblicato negli Stati Uniti e in Canada da Holt, Rinehart and Wilson - in Spagna da Editorial Lumen” (from half-title). [Biblio-graphy: AA.VV., «Biblioteca del Moderno. Arte e architettura nei libri dalla Sezes-sion alla Pop Art», Lugano, Fondazione - Galleria Gottardo, 1991; pag. 52]. € 1.500

28. (Pop Art) OLDENBURG Claes (Stockholm 1929),“Notes in hand n° 15″, [New York], [1967] , 24x18 cm (14.5x10.5 actual size), original monochromatic litho-graph, numbered and signed (monogram) in pencil by the artist. Sketches du-ring eat class: projector and caricature of Billy Klüver. Issue of 100 copies. € 500

29. (Pop Art - Periodicals) AVANTGARDE, nn. 1 - 14 (All published), New York, Ralph Ginzburg, 1968//1971, 14 issues 28.5x27.6, paperback, about 60 pp. each. Magazine directed by Herb Lubalin. Entirely illustrated with b/w and colour illustrations. N.1 January 1968 includes the article “Richard Lindner: The Rubens of the love generation”; N.2 March 1968, includes the portfolio “The Marilyn Monroe trip by Bert Stern”, with 12 original colour screen printing by Bert Stern; N.3 May 1968, includes the article “Revalutation of the Dollar...”, illustrations reproducing works by James Grashow, Jerome Snyder and others. N.4 September 1968, includes a calendar with b/w photographic illustrations by Steve Horn and Norm Griner. N.5 November 1968, includes the article “Tom Wesselman: pleasure painter”. N.6 January 1969, includes the article “Phil Ochs: Kipling of the new left” by Peter Schjeldahl. N.7 March 1969 includes the article “Paul Wunderlich painted woman”, with more than 40 b/w and colour photographic illustrations. N.8 September 1969, monographic issue devoted to Picasso “Picasso’s erotic gravures”. N. 9 November 1969 includes the article “She stuups to conquer”, with b/w photographic illustrations of the fashion model Betty Rambow. N.10 January 1970 includes the first article of a series entitled “The lust battalion: sexual adventures of the avant-garde” by Max Hess with illustrations by Rick Schreiter. N. 11 March 1970 includes the article “Wedded Bliss: A portfolio of ero-tic lithographs by John Lennon”. N.12 May 1970 includes the article “Laid on Fire Island” by Gary Youree. N.13 includes the article “Portraits of the American people a Monumental Portfolio of photographs” by Alwyn Scott Turner. N. 14 Summer 1971 includes the article “Belles Lettres. A photo alphabet” with 39 b/w illustrations. € 1.200

30. (Artists’ books) NAUMAN Bruce (Fort Wayne, Indiana 1941) - WEIDMAN Phil (Alturas (California) 1936), Slant Step Book, Sacramento, The Art CO., no date [1969], 22.5x15 cm, paperback, 36 numbered leaves [(72) pp.], b/w photographic image by Steve Jongeward on cover. Artist’s book by Phil Weidman in collaboration with Bruce Nauman, entirely illustrated with drawings, b/w photographic images, facsimile of letters and poetry inspired by the image of a “Slant Step”, a kind of footstool bought for 1 $ by Bruce Nauman from a junk shop in Mill Valley, near San Francisco, in 1965. This object became a sort of icon to the artists and students gravitating around Nauman, so much so that in 1966 the poet and playwright William Witherup organised for a co-op gallery in San Francisco the exhibition “The Slant Step Show”. Bruce Nauman, William Wiley, Robert Hudson, William Allen, Jim Melchert and others seventeen artists paid homage to the “Slant Step” creating works in metal, plaster, bread, coloured plastic, silk and other materials. The photograph on cover depict a man lying down, bare-chested, wearing Nauman’s “Slant Step” on his head; this “object-sculpture”, described among the works exhibited during his first solo exhibition (Los Angeles, Nicholas Wilder Gallery, in 1966), is presently in the Chicago Museum of Contemporary Art collection. The book includes an interview of Frank Owen to Bruce Nauman and contributions by Ron Peetz, Dorothy Wiley, Bill Allan, William Witherup, William T. Wiley, Jack Edwards, Robert Leach, Richard C., Jack Ogden, Lawrence Dean Phillips, Peter Saul, Ray Johnson, Peetz, Jack Fulton and Steve Kaltenbach. Unspecified print run. First edition. € 2.500

31. (Fluxus box) BRECHT George [George Ellis MacDiarmid] (New York 1926 - Cologne 2008) - FILLIOU Robert (Sauve 1926 - Les Eyzies 1987), La cédille qui sourit. Eine Ausstellung in drei Teilen - An Exhibition in Three Parts - Une exposi-tion en trois parties, Mönchengladbach, Städtisches Museum Mönchengladbach, [printer: Heinrich Schlechtriem -Mönchengladbach], 1969 (June), 16.2x20.6 cm., cardboard container with sliding lid, 46 leaves (92 pp) and 5 leaflets applied on a card; the container is in the shape of a large matches box, a match is printed on a yellow background and the number 5 is printed in red. The upper part of the num-ber is missing on purpose, to fill the free space with autograph inscriptions or per-sonal annotations. Design by Johannes Grigat. The content is composed by loose white and yellow leaves and small booklets printed with texts and illustrations, in total 46 leaves, die-cut at the upper left corner to accommodate a small matches box, reproducing the larger container, similarly printed and containing four tiny ho-oked screws. Introduction by Johannes Cladders. Issue of 440 numbered copies. Autograph inscription by George Brecht to Takako Saito. Original exhibition catalogue (Mönchengladbach, Städtisches Museum, 18 June - 27 July 1969). [Bibliography: Archivio della Fondazione Luigi Bonotto: Code 0075S 1/3]. € 1.200

32. (Artists’ books) BOLTANSKI Christian (Parigi 1944), Essais de reconstruc-tion 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). Print run of 3,000 copies. First Edition. [Bibliography: Calle 2008: pag. 18]. € 700

33. (Artists’ books) GILBERT & GEORGE [Gilbert Prousch, San Martino in Badia, Bolzano 1943 - George Passmore, Plymouth, Devon 1942], The Limericks. A postal sculpture in eight-parts. [Complete Set], [London], Art For All, 1971 (March/May), 20x12.5 cm; 8 folded white and tan cards (4 pages each), complete series of 8 “Postal Sculpture”, illustrated with autoportrait and line-drawing, printed in black on the first page, by Gilbert & George. Each card is signed in red by the artists and contains poetical thoughts about the ways and contradictions of human nature. The cards are as follows: 1° Limerick - Lost Day, 11 March 1971; 2° Limerick - Shyness, 29 March 1971; 3° Limerick - Experience, 2 April 1971; 4° Limerick - Worldliness, 13 April 1971; 5° Limerick - Idiot Ambition , 24 April 1971; 6° Limerick - Normal Boredom, 1 May 1971; 7° Limerick - Manliness, 15 May, 1971; Last Limerick - Artists Culture, 19 May, 1971. Joined: six envelopes, letterhead “Towards progress and understanding” printed in red, sent to two different addressees. First edition. [Bibliography: Lailach 2005: pag. 120]. € 3’000

34. (Artists’ books) RUSCHA Edward (Omaha, Nebraska 1937), Records, Hol-lywood, Edward Ruscha, [stampa: Heavy Industry Publications], 1971, 17.8x14 cm., paperback, (72) pp, typographic cover. Artist’s book, 58 b/w photographic plates depicting the vinyl records from the artist’s collection. Photographs by Jerry Mc Millan. Issue of 2000 unnumbered copies. First edition. [Bibliography: Engberg - Phillpot 2001; pp. 74-75 vol. I; B15 vol. II]. € 1.000

“(...) 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)

35. (Conceptual Art - Poster) GRAHAM Dan (Urbana/Illinois 1942), Performance: New Piece, Halifax Nova Scotia, Fourth Floor Gallery, 1972, 31×39 cm, small po-ster, printed on photo paper, 3 b/w illustrations and a long text by the artist. Unspe-cified print run. Published on the occasion of the exhibition held at the Fourth Floor Gallery in Halifax, Nova Scotia (Canada), 17-24 January 1972. € 600

37. (Conceptual Art - Photo) DE MARIA Walter (Albany, California 1935 - Los Angeles 2013), Ritratto di donna su un yacht seduta accanto a un pesce spa-da, [Darmstadt], 1974, 34x25, original vintage photograph, taken by the photographer Bob Benson, under instructions by Walter De Maria. Copy with the photographer’s stamp and, pasted on the back side, a small leaflet of the exhibition “Walter De Maria. Der große Erdraum. 8 Skulpturen 44 Zeichnun-gen”, held in Darmstadt, Hessisches Landesmuseum. Probably this picture was exhibited in the solo exhibition in Darmstadt; the image had no connection at all with the works exhibited and depicted an action apparently meaningless, defi-ned by De Maria “meaningless work” and aimed to bring the observer to reach higer levels of knowledge. This actions reveal the artist’s conflicting attitude to-ward photography, guilt, in his opinion, to transform the work of art (whose va-lue is to exist in a unique and well defined space-time continuum) to a simple object, “una forma rigida di comunicazione” (“a stiff mean of communication”). De Maria reject photography in the fear that it can, not only create substitu-tes of the lost work of art, but even become the work itself. Unspecified print run. [Bibliography: Cfr: Federica Stevanin, “La fotografia, il film e il video nella land art tra documentazione e sperimentazione (Doctoral thesis)”, Alma Mater Studiorum – Università di Bologna, 2013]. € 2.500

36. (Conceptual Art - Poster) WEINER Lawrence (New York, Bronx 1942), 50 Ar-beiten von Lawrence Weiner, Munster, Westfälischer Kunstverein, 1972, 56.1x90 cm, original artist’s poster, German translation of a long text by the artist. Second poster by Lawrence Weiner. Unspecified print run. First edition. [Bibliography: Bu-chloh 1986: pp. 4-5; Leiber 2001: n. 481]. € 800

38. (Conceptual Art - Poster) KAWARA On (Kariya 1933), On Kawara, 1973-Pro-duktion eines Jahres, 1973-one years production, Kunsthalle Bern, 31. August - 6. Oktober 1974, Bern, Kunsthalle Bern, [print: The Letter Edged in Black Press Inc.], 1974, 90,5x128 cm., artists’ poster illustrated, printed in the colors yellow and black published for the exhibition held at the Kunsthalle in Bern from 31 Au-gust to 6 October 1974. Printing in silkscreen Albin Uldry. Printrun unreported. [Bibliography: Lailach 2005; pag. 133]. € 1.200

39. (Flxus - Poster) CHIARI Giuseppe (Florence 1926 - Florence 2007), L’arte è finita smettiamo tutti insieme, (Firenze), edition published by the author [printer: Tipografia Centrale - Firenze], 1974 (June), 100x70 cm., poster, printed on one side only, black text on yellow background. Folded. First edition. [Bibliography: Archivio della Fondazione Luigi Bonotto: Code 0152 1/25: original photograph]. Some copies were printed on light blue or white paper. In a second edition, publi-shed in 1975, the sentence was completed by the words “Guttuso anche”. € 1.200

40. (Artists’ books) AA.VV., Je nous wijk, Bruxelles, Pour écrire la liberte, 1975, 34.5x27.5, paperback, (276) pp, B/w illustrated cover. Collective artist’s book, published on the occasion of the exhibition held Brussels, Musée d’Ixelles, 23 May - 13 July 1975 and including contributions by all the participating artists: artist’s books by: Car Andre (6 pp. 4 b/w illustrations), Richard Artschwager (( pp., 1 b/w illustration and a 4-pages concrete poetry), Ben Vautier (6 pp. entirely illustrated by photographs and newspaper cuttings), Joseph Beuys (10 pp., French / German text and 2 b/w illustrations), Daniel Buren (24 pp. entirely illustrated by Buren’s diagrams and drawings), Christo (pp. text and 11 b/w photographic illustrations), On Kawara (16 pp., a short text and 53 b/w photographic illustrations), Yoko Ono (6 pp., text, 1 photographic illustration and 11 line-drawings). Other contributing artists are: C. Boltanski, G. Brecht, J. Lee Byars, H. Darboven, W. De Maria, R. Filliou, H. Haacke, D. Huebler, S. Lewitt, A. Messager, Panama-renko, O. Penck, S. Polke, D. Spoerri, R. Tuttle, L. Weiner and others. Ttext by Harald Szeeman, Jean-Claude Garot e Isi Fiszman. Unspecified print run. First edition. € 600

41. (Fluxux - Magazines) AXE Revue, nn. 1 - 2 - 3 (all published), Antwerpen, Guy Schraenen, 1975 - 1976, 3 volumes, paperback and cardboard case. Artist periodical edited by Guy Schraenen with mounted illustrations and objects, with contribs. of avant-garde and sound poetry artists, printed on various stock, many folding plates. Each volume includes a 45rpm vinyl record by Henri Chopin, Brion Gysin and Sten Harison respectively. N° 1: Cover sérigraphie Degottex; contributions by Degottex, Henri Chopin, Bryin Gysin, Schel out, Ung No Lee, Eduard Bal/Schraenen, Heidsieck, Bram Bogart, M.Dermisache, N. van Dale, Paul Van Ostaijen. 3 signed original multiples by Degottex, L.J.P. Schel out, Ung No Lee. N°. 2: Cover original by René Guiette; contributions by Guiette, Plessi, Esperaldo, Brion Gysin, Hugo de Clercq, A. de Bary, Maurice Benhamou, Heidsieck. De-luxe: with 2 signed original multiples by René Guiette, Antoine de Bary. N° 3: Cover Brion Gysin; contributions by Brion Gysin, Arrigo Lora-Totino, Sten Hanson, Klaus Ritterbusch, Jo Delahaut, Fr. Mairey, John Giorno, Heidsiec. With 3 signed original multiples by: Brion Gysin, Lora-Totino, Françoise Mairey. One of the De-Luxe edition of 130 copies, with a total of 8 signed serigraphies which were not included in the regular edition. € 2.000

42. (Artists’ books) OPALKA Roman (Abbeville-Saint-Lucien 1931 - Roma 2011), Opalka 1965/1 - 00. Detail 1602183 - 17228670, Milano, Giancarlo Politi, [printer: Arti Grafiche Multhipla], 1975, 33.5x24.2 cm, paperback, [42] leaves (printed on verso only), artist’s book, 42 plates depicting series of numbers. Graphic design by Gabriella Cova. Issue of 1000 copies. First edition. € 800

43. (Artists’ books) ROTH Dieter [pseudonims: Dieter Rot e Diter Rot] (Hanno-ver 1930 - Basel 1998), Gesammelte Werke Band 1 / Collected Works Volume 1 - 2 Bilderbücher - Versionen der im Forlag Ed Reykjavik 1957 erschienenen Bücher / 2 Picture Books - Versions of the books published by Forlag Ed Rey-kjavik 1957, Stuttgart - London - Reykiavik, Edition Hansjörg Mayer, [no printer], 1976 [September/October], 23.5x26.5x4 cm., cardboard box, b/w printing and black title on light green background on front and back. Published in 1976 as the intended first volume of an ambitious project of the publisher Hansjorg Ma-yer, who wished to reprint all Dieter Roth’s artist’s books. The box contains a leaf of 23x23 cm., where title page and colophon are printed in b/w, and two facsimile of the first two works by Roth, originally published in Reykjavik in the 50s (1954-1957). The first volume, “Kinderbuch”, is composed by 28 unn. pa-ges spiral-bound and geometrical shapes are depicted in several colour and die-cut in different ways. The second one “Bilderbuch” is a 2-ring binder con-taining 23 white light cardboard pages and acetate leaves in different colours, variously die-cut and pierced to fit in the binder. Issue of 1000 copies. First edi-tion. [Bibliography: Delcroix 2011: pag. 19; Dobke 2004: pag. 147]. € 750

44. (Conceptual Art - Post cards) AA.VV., Image Bank Post Card Show, Van-couver, Image Bank, [printer: Rapport Printing Corp. Garett Graphic Corp. New York], 1977, 10.5x16, cardboard box with cover; [50] cards; artist’s book including 1 leaf (list of the artists) and 49 b/w and colour postcards depicting works and portraits by/of: Vito Acconci, Mac Adams, Eleanor Antin, John Jack Baylin, Jeff Berner, G.A. Cavellini, James Collins, Diego Cortez and Katharina Sieverding, Coum Transmissions, Robin Lee Crutchfield, Robert Cumming, Dadaland, Peter Daglish, Lowell Darling, Jimmy de Sana, Mario Diacono, Robert Filliou, Hervé Fi-scher, Charles Henri Ford, General Idea, Geoffrey Hendricks, Dick Higgins, Davi Det Hompson, Victor Hugo, Peter Hujar, Ray Johnson, Allen Jones, Marcel Just, Alison Knowles, Richard Kostelanetz, Les Levine, Glenn Lewis, Sol LeWitt, Ro-bert Mapplethorpe, Gordon Matta-Clark, Eric Metcalfe, Michael Morris, Hermann Nitsch, Footsy Nutzle, Tom Phillips, Yvonne Rainer, Clive Robertson, Edward Ruscha, Willoughby Sharp, Vincent Trasov a.k.a. Mr. Peanut, Ben Vautier, Allan Zubick. Unspecified print run. € 600

45. (Artists’ books) KAWARA On (Kariya 1933), I Am Still Alive, Berlin, Edition Rene Block, 20.7x24 cm., publisher’s cloth, slipcase, (414) pp., title printed on spine, 203 plates (printed on recto only) reproducing b/w images of telegrams sent by On Kawara to his acquaintances with the message “I am still alive”. Artist’s book by On Kawara on the occasion of his stay in Berlin during the Berliner Kun-stler programme DAAD. Issue of 800 numbered copies, 450 bound in gray cloth, with slipcase, and labelled “A” and 350 with board binding and labelled “B” . Copy n. 79 “A”. First edition. [Bibliography: Lailach 2005: pag. 132]. € 900

46. (Radical architecture) LA PIETRA Ugo (Bussi sul Tirino, Pescara 1938), Interno/esterno tenda, (Milano), 1978, 22.5x16.5 cm., original drawing, Indian ink and watercolour, dated and signed by the artist on the front side. Archive stamp on verso «Archivio Ugo La Pietra - Via Guercino 7 - Milano». € 1.400

“Tra i vari discorsi e opere che gli storici hanno catalogato nella corrente denominata «architettura radicale», alcuni progetti realizzati verso la fine degli anni Settanta tentavano di mettere in crisi il cosiddetto stile internazionale anonimo e ripetitivo riproponendo un’architettura in grado di «comunicare». Caricare l’oggetto architet-tonico di elementi legati alla nostra contemporaneità, senza prendere in prestito elementi formali dalla memoria colta (postmoderno), è una pratica progettuale che ho voluto indicare con una semplice operazione: portare elementi formali dall’interno all’esterno. - La facciata si connota così di luci, decorazioni, oggetti quotidiani in cui ci riconosciamo, elementi ingranditi, ripetuti, realizzati con materiali diversi possono diventare un catalogo inesauribile di manipolazione. L’interno verso l’esterno diventa così, oltre che uno slogan a cui rimandare sinteticamente tutte le mie ricerche tese al superamento della barriera, che ancora esiste, tra spazio privato e spazio pubblico, anche un metodo progettuale per la buona salute di un’architettura che sembra cercare con scarsi risultati nuovi modelli a cui fare riferimento” (Ugo La Pietra, in: AA.VV., «Ugo La Pietra. La sinestesia delle arti 1960-2000», Milano, Gabriele Mazzotta, 2001; pag. 118). “Forse non è chiaro a tutti che un essere umano garantisce la propria sopravvivenza attraverso la modificazione fisica, ma soprattutto mentale, dell’ambiente in cui vive ed opera, osservando che modificazione vuol dire appropriazione e appropriazione vuol dire spesso esplorare, capire, e, infine, amare un luogo” (Ugo La Pietra, «Abitare la città. Ricerche, interventi, progetti nello spazio urbano dal 1960 al 2000», s.l., Umberto Allemandi, 2011; pag. 172).

47. (Artists’ Magazines) FELDMANN Hans Peter (Düsseldorf 1941), Image nr. 1 (All published), Zürich, Halle für internationale neue Kunst, 1979, 49x33 cm, paperback, [12] pp., editing and lay-out by Hans-Peter Feldmann. First and only issue of the magazine, illustrated with 53 b/w photographic illustrations by Hans-Peter Feldmann. Issue dedicated to Steve Laurence. Unspecified print run. € 500

48. (Artists’ books) HAACKE Hans (Colonia 1936), 4 works, 1978-79, New York, John Weber Gallery, 1979 [May], 28x21.5 cm, paperback, leaves bound with a me-tal staple (as issued), acetate cover, [14] pp., catalogue/artist’s book, typographic cover, printed in photocopy, 8 illustrations from advertising, published on the occa-sion of the exhibition held at the Weber Gallery in May 1979. First edition. € 1.200

49. (Artists’ books) APPLEBROOG Ida (The Bronx, New York 1929), A Performance, no place [New York], Blue Books, 1981, 19.7x15.7 cm; 7 parts, paperback, [20] pp. each, artist’s book in 7 parts, entirely illustrated with the artist’s drawing, with some remarks. The order is not specified, only the first and last part can be identified: (I vol.) “A Performance”; “I can’t. A Performance”; “It’s very simple. A Performance”; “Stop crying. A Performance”; “So?. A Performance”; “I mean it. A Performance”; “A Performance” (“the end” on back cover). Artist’s autograph date and signature in pencil on the last but one page of the last volume. Unspecified print run. First edition. [Bibliography: Delcroix 2011: pag. 423]. € 1.200

50. (Artists’ books) BYARS James Lee (Detroit 1932 - Cairo 1997), James Lee Byars. “The Cube Book”, Eindhoven, Stedelijk van Abbemuseum, 1983, 16.5x16.5 cm, paperback [924] pp., artist’s book published on the occasion of the exhibition held in Eindhoven, Stedelijk van Abbemuseum. “The Cube Book,” is an extraordinary book-objet with texts by the artist, interspersed in a massive block largely composed of blank sheets. Fine copy. Issue of 500 copies. [Bibliography: BYARS 1995, Katalogbücher n. 31; Delcroix 2011: pp. 380 e 426. € 1.500

“(…) “The Cube Book” (1983) de James Lee Byars, qui dissimule texts et reproductions de ses oeuvres au milieu de quantité de pages blanches.” (Delcroix)

51. (Fluxus box) WATTS Robert (Burlington, Iowa 1923 - Martins Creek, Pennsylvania 1988), Robert Watts - 20th Anniversary Fluxus Editions, Verona, Archive F. Conz, [no printer], 1984, 13x18x2.8 cm., transparent plastic box, black title on white background printed on a label and pasted on the lid, design by Robert Watts, re-worked version of the image created by George Maciunas for the box first edition (1964). The box contains a card (introduction), a bottle crown-cap with «Fluxus 20th Anniversary Edition» printed on it, and 47 cards (one, «T V Event», double) of different size with texts and images referring to possible events, performances, actions etc realized from 1964 until 1984. Only issue of 30 copies, with the artist’s autograph signature. Partially first edition. [Bibliography: Archivio della Fondazione Luigi Bonotto: Code 0273E 1/3]. € 1.500

53. (Artists’ book) DARBOVEN Hanne (Munich 1941 - Hamburg 2009), Urzeit / Uhrzeit, New York, Rizzoli International Publications, 1990; 43,6x30,3 cm., bin-ding canvas with slip case, pp. [4]-246-[4]. Artists’ book illustrated with 28 color applied plates (an head embalmed of a bird and a fish) and over 800 images. Texts, diagrams and musical scores printed in fac-simile of the original manu-scripts by the artist. Special copy with an original “intervention” on the title page (five lines numbered in pencil). A brief handwritten note on page 241 and a monogram next the title. In appendix a text by Coosje van Bruggen ( “Today Crossed Out”). Printrun of 300 copies. Exemplary. No. 44, with Arabic numbers. Original edition. [Bibliography: Bippus - Westheider 2002: pag. 105]. € 1.800

52. (Fluxus box) BRECHT George [George Ellis MacDiarmid] (New York 1926 - Cologne 2008), Water-Yam [1986], Brussells - Hamburg, Editions Lebeer Hos-smann, [no printer], 1986 (October), 17x17x3 cm., cardboard box, drawing by George Brecht on gray-green background on cover. The box contains 94 (of 102, 8 missing) cards of different size: 85 white, 2 black and 7 in a small enve-lope addressed «Cloud Scissors... to Robert Filliou from George Brecht». Geor-ge Brecht’s autograph signature inside the box cover. Inside the box cover the print run is specified and historical information are given in English, French and German: “George Brecht’s Water-Yam first appeared in 1962 (Fluxus Editions, Wiesbaden and New York). Second and more complete edition: Fluxus, NYC, 1964. Third Edition of 100 copies (signed and numbered): Daniel Templon, Paris, 1972. Fourth edition: Parrot Impressions, Surbiton/Surrey (UK). This unlimited edition in published by Lebeer Hossmann, Brussels and Hamburg”. The Ger-man version adds: “Die gegenwärtige, und die Serie «Cloud Scissors» von 1961 erweiterte, unlimitierte Ausgabe von 102 Karten erscheint im Oktober 1986...”. Actually, as stated in «Fluxroll», the first edition was published in 1963. Moreover, in each box the amount and titles of the cards is variable, as also happens in this Hossmann edition. Partially first edition. [Bibliography: Archivio della Fondazio-ne Luigi Bonotto: Code 0329E 1/6; Buchholz - Magnani 1993: pag. 44]. € 600

54. (Design) SOTTSASS Ettore jr. (Innsbruck 1917 - Milan 2007), Senza titolo (Ser-pente con mela dorata in bocca), no place [New York], 1994, 31.5x11 cm, Indian ink line-drawing on light cardboard “Guarro” (made of fibre obtained from plants), a detail touched up in gilt tempera. Copy dated and signed by Ettore Sottsass. € 1.800

BIBLIOGRAPHY

ARTISTS MAGAZINES 2011: ALLEN Gwen, Artists magazines. An alternative space for art, Cambridge Massachusettes - London, Mit Press, 2011

BAUHAUS ARCHIV 1995: AA.VV., Das A und O des Bauhauses, Leipzig, Bauhaus-Archiv, 1995

BDM 1991: AA.VV., Biblioteca del Moderno. Arte e architettura nei libri dalla Se-zession alla Pop Art, Lugano, Fondazione - Galleria Gottardo, 1991

BIPPUS – WESTHEIDER 2002: Elke Bippus - Ortrud Westheider, Hanne Darbo-ven Kommentiertes Werkverzeichnis der Bücher, Köln, Verlag der buchhandlung Walther König 2002

BONET 1995: BONET Juan Manuel, Diccionario de las vanguardias en españa (1907 - 1936), Madrid, Allianza Editorial, 1995, BONET 1996: BONET Juan Manuel, El Ultraismo y las artes plasticas, Valencia, I.V.A.M., 1996

BUCHLOH 1986: BUCHLOH Benjamin H., Lawrence Weiner. Posters November 1965 - April 1986, Toronto, The Press of Nova Scotia Collage of Art & Design - Art Metropol, 1986

BUCHHOLZ - MAGNANI 1993: BUCHOLZ Daniel - MAGNANI Gregorio, Inter-national Index of Multiples from Duchamp to the Present, Tokyo - Köln, Spiral / Wacooal Art Center – Verlag der Buchhndlung Walther König, 1993

BYARS 1995: BYARS James Lee, Perfect is My Death Word: Bücher - Editionen - Ephemera, Bremen, Neues Museum Weserburg, 1995

CALLE 2008: CALLE Bob, Christian Boltanski artist’s books 1969 - 2007, Graulhet, Êditions 591, 2008

CAMMAROTA 2006: CAMMAROTA Domenico, Futurismo. Bibliografia di 500 scrittori italiani, Trento - Milano, MART - Skira, 2006

DADA 1994: AA.VV., Dada l’arte della negazione, Roma, De Luca, 1994

DELCROIX 2011: MOEGLIN DELCROIX Anna, Esthétique du livre d’artista. Una introduction à l’art contemporain, Paris, Bibliothèque Nationale de France, 2011

DOBKE - KELLEIN 2004: DOBKE Dirk - KELLEIN Thomas, Dieter Roth, Books & Multiples, Catalogue Raisonne, Hamburg - London, Edition Hansjörg Mayer, 2004

EX LIBRIS 10/1983: EX LIBRIS, Dada once and for all (Catalogue n. 10), New York, Ex Libris, 1983

ENGBERG - PHILLPOT 1999: ENGBERG Siri - PHILLPOT Clive, Edward Ru-scha: Editions 1959-1999 Catalogue Raisonne, Minneapolis-New York, Walker Art Center, 1999, 2 volumi

HELLER 2003: HELLER Steven, Merz to Emigre and Beyond. Avant-Garde Ma-gazine Design of the Twentieth Century, London, Phaidon Press Limited, 2003

HENDRICKS 1988: HENDRICKS Jon, Fluxus Codex. The Gilbert and Lila Silver-man Fluxus Collection, New York, Harry N. Abrams, 1988

LAILACH 2005: LAILACH Michael, Printed Matter. Die Sammlung Marzona in der Kunstbibliothek, Berlin, Kunstbibliothek Staatliche Museen, 2005

LEIBER 2001: LEIBER Steven, A survey of artists’ ephemera 1960 - 1999, San Francisco, Smart Art Press, 2001

MAFFEI 2007: MAFFEI Giorgio, Libri e documenti. Arte Povera 1966-1980, Man-tova, Edizioni Corraini, 2007

MAFFEI - PATERLINI 2015: MAFFEI Giorgio - PATERLINI Patrizio, Fluxbooks. Fluxus artst books from the Luigi Bonotto Collection from the sixties to the future, Milano, Mousse Publishing, 2015

MARKOV 1968: MARKOV Vladimir, Storia del futurismo russo, Torino, Einaudi, 1968

MOMA 2002: ROWELL Margit - WYE Deborah, The russian avant-garde book 1910 - 1934, New York, The Museum of Modern Art, 2002

NEUMANN 1967: NEUMANN Eckhardt, Functional Graphic Design in the 20′s, New York, Reinhold, 1967

PARIENTE 2003: PARIENTE Angel, Diccionario bibliográfico de la poesía española del siglo XX, Sevilla, Editorial Renacimiento, 2003

PARR - BADGER 2006: PARR Martin - BADGER Gerry, The Photobook. A Histo-ry, London, Phaidon, 2006, 2 volumi

RAMIREZ - OLEA 2004: RAMIREZ Mari Carmen - OLEA Héctor, Inverted Uto-pias: Avant-Garde Art in Latin America, New Haven, 2004

SALARIS 1988: SALARIS Claudia, Bibliografia del Futurismo, Roma, Biblioteca del Vascello, 1988

SALARIS 1992: SALARIS Claudia, Storia del Futurismo, Roma, Editori Riuniti, 1992

SALARIS 2012:SALARIS Claudia, Riviste futuriste. Collezione Echaurren Salaris, Pistoia, Gli Ori, 2012

SALARIS 2015: SALARIS Claudia, Futurismi nel mondo. Futurism in the world. Collezione Echaurren Salaris, Pistoia, Gli Ori, 2015

SCHWARZ 1976: SCHWARZ Arturo, Almanacco Dada, Milano, Feltrinelli, 1976

VANGUARDIA APLICADA 2012: AA.VV., La Vanguardia aplicada 1890 - 1950, Madrid, Fundacion March, 2012

WENTZLAFF-EGGEBERT 1999: WENTZLAFF-EGGEBERT Harald, Las van-guardias literaria en España. Bibliografia y antología crítica, Frankfurt am Main - Madrid, Vervuert - Iberomaricana, 1999

4 April 2017limited edition of 100 numbered copies

copy n.

l’arengario studio bibliografico cinquante-quatre livres pour paris