- Fine copy.
Les chroniques du jour. No.6. Ed. G. de San Lazzaro. Paris. Éditions des chroniques du jour, 1930, 30,(8)p., 8 plates, ills., adverts, orig. wr. w. anonymous design, 4to.
= Global Avantgarde France 62 (other issue w. variant wr.); Le Fonds Pauls Destribats 236.
- Backstrip carefully repaired and lacking sm. portion of spine-ends.
= Global Avantgarde Italy 44.
- First and last page w. offsetting from wr.; bookblock loosening. Frontwr. sm. chip at upper corner.
= Global Avantgarde USA 34. Rare volume of poetry on Hawaii by Jane Comstock (Mrs. Adna G. Clarke).
- Frontcover w. horizontal crack; backstrip a few sm. holes. = Copy printed on Japon Dujardin.
= Global Avantgarde France 65 (other issue w. wr. in blue, red and black); Le Fonds Paul Destrobats 300. Contains i.a. a contribution on the textile designs and dresses by Sonia Delaunay and the "Troisième manifest du surréalisme" by Robert Desos.
- Sl. yellowed and occas. foxed; some careful repaired marginal tears and restored spots. Wrappers trifle soiled; spine worn; frontwr. w. restored corner.
= Global Avantgarde Uruguay 1; Boglione p.6 (depicting no.8 w. identical wr. design).
AND a mediocre, waterstained and partly frayed copy of. El Cruz del Sur, no.17 (1927, orig wr. des. by MELCHIOR MÉNDEZ MAGARINOS. Global Avantgarde Uruguay 2).
- One textleaf and backwr. w. sm. stamp. = Global Avangarde Lithuania 20; Jankevičiūtė p.143.
- Some (sl.) foxing. Frontwr. lacks tiny portion of corner; backwr. sm. dam. along spine; spine-ends sl. dam.
= Global Avantgarde Portugal 21.
SW Sudoeste. Ed. A. Negreiros. No. 1. (Lisbon), Edições SW, 1935, 31,(1)p., orig. wr. w. anonymous design.
- Foxed.
= Global Avantgarde Portugal 20. The first issue of one of the most important modernist Portuguese literary periodicals, of which only 3 issues were published.
AND 1 other similar: A. INEZ, Oiça, António Ferro! (Lisbon, 1933, orig. wr. w. anon. design (sl. yellowed/ foxed; Global Avantgarde Portugal 19).
- Hinges sl. weak. Foot of spine chipped. = Global Avantgarde Turkey 27.
- Partly loose(ning). Spine worn. = Khan-Magomedov p.142f; Rowell/ Wye 852 and ills. p.237.
- Upper corner sl. bumped. Wrappers trifle soiled and some sl. rubbed spots at extremities; a few sm. tears in upper margin of backwr.; frontwr. a few vague folds in lower corner; both wr. lack sm. portion of upper corner.
= Global Avantgarde Netherlands 48. The work was also published in a Wijdeveld-style cloth binding.
- Some sl. occas. foxing.
= With AUTOGRAPH SIGNED DEDICATION, dated "Buenos Aires MCMXXXII". Global Avantgarde Argentina 22; Libros Argentinos p.264; Diagramming Modernity p.144.
- Frontpage w. gluestain and some minute holes along fold; backpage w. vague narrow waterstain along fold.
= Global Avantgarde Czechoslovakia 4; cf. Le Fonds Paul Destribats 198. Extremely rare prospectus for the periodical edited by Jaromir Krejcar, Jaroslav Seifert, Karl Teige and (for France and Germany) Iwan Goll of which only 2 issues were published between 1923 and 1925. On the frontpage of this prospectus the title and subtitle of the periodical are listed in Czech, French, German, Italian, Russian and English.
- Orig. frontwr. cut sl. short, just touching the text. Binding sl. worn.
= Global Avantgarde France 40; Le Fonds Paul Destribats 359; Bolliger III, 166. All published; w. tipped-in leaflef "cette revue n'est ni la suite ni la contre-façon d'aucune autre (...)". Contains contributions by i.a. Tristan Tzara, F.T. Marinetti, Hans Arp, Céline Arnauld, Kurt Schwitters, Willy Baumeister, M. Seuphor and Paul Joostens, and (photogr.) ills. by/ after Kertèsz, Fernand Léger, Herman Vonck, Victor Servranckx, Lucia Moholy, Enrico Prampolini, Moholy-Nagy, Piet Mondriaan, Marcel Breuer and Vordemberge-Gildewart.
- Yellowed.
= Extremely rare German language advertising leaflet for subscriptions in Germany to Documents internationaux de l'Esprit Nouveau, "die erste permanente internationale zusammenarbeit aller neu-schöpferische elemente europas (...): architektur, malerei, literatur, musik, theater, film, fotografie. das organ der neue gestaltung. die manifestation der einheitlichten richtung und der mannigfaltigkeit des modernen geistes. stets mit vielen deutschen texten."
- Upper corner sl. knacked.
= Cf. Global Avantgarde Croatia | Serbia | Slovenia 17. Variant cover design of Rade Drainac' third vol. of poetry (Belgrade, 1923).
Idem. "Izdanja Hipnos Erotikon". ORIGINAL COLLAGE (w. use of the announcement of Erotikon), on verso of the frontcover of Voz odlazi (Belgrade, 1923), w. tipped-on the cut-out first verse from Erotikon, signed [in cyrillic] "Rade Drainac" and "24 XII 1923" in pencil. - AND WITH the first and final leaf from Voz odlazi, resp. w. an additional ORIGINAL COLLAGE design on recto and an AUTOGRAPH POEM on verso, pencil, signed [in cyrillic] "Rade Drainac" and "24 XII 1923".
= Extremely rare ensemble of collages in connection with Drainac' poetical works.
= Global Avantgarde Latvia 43 (variant in red). Rare technical car manual.
= Global Avantgarde Poland 22 (other issue); Rypson p.142.
Rosset, E. Prawa demograficzne wojny. Łódź, n.publ., 1933, 61p., orig. wr. w. anonymous design, sm. 4to. - AND 1 other: T. PEIPER, Szósta! Szósta! Utwór teatralny w częściach (Kraków, 1925, modern facs. wr.).
- Spine and upper blank corner frontwr. neatly restored.
= Global Avantgarde Georgia 1; Chepyzhov 20: "Drosha was the main artistic and literary magazine published from 1923 to 1935 (...). The design of Drosha changed over the years reflecting the different styles dominant in Georgian art. In the first period in 1923-24, the magazine was dominated by David Kutateladze, who designed the wrappers and the lettering - he was clearly influenced by Ilia Zdanevich's letterpress designs."
- Closed tear in frontwrapper.
= Global Avantgarde Georgia 16; Chepyzhov 20: "Drosha was the main artistic and literary magazine published from 1923 to 1935 (...). The design of Drosha changed over the years reflecting the different styles dominant in Georgian art. In the first period in 1923-24, the magazine was dominated by David Kutateladze, who designed the wrappers and the lettering - he was clearly influenced by Ilia Zdanevich's letterpress designs."