= Photobook by the avant-garde film director, dramatist, poet and photographer Shuji Terayama (1935-1983). Cf. Parr/ Badger I, p.288: "Shuji Terayama (...) galvanized the visual artists as well as audiences with his iconoclastic daring, mixing up neo-Dada, beat poetry, surreal eroticism, Noh and Kabuki with alacrity and invention."
= LOT OF 6 COPIES, all one of 100 numb. and signed copies (but lacking the orig. photograph called for).
- Glassine dustwr. partly sl. yellowed and w. sm. tear in upper corner.
Oldenburg, C. More Ray Gun Poems (1960). Philadelphia, Moore College of Art/ Falcon Press, (1973), (2)p. (incl. wr.), ills. by CLAES OLDENBURG, orig. wr., obl. 4to.
- Sl. yellowed along margins.
- (Sl.) yellowed (incl. wr.); loosening. Backstrip worn away; backwr. dam.; frontwr. 2 sm. tears/ chips.
= Parr/ Badger III, p.19: "Work and War in Spain was published by the Spanish Embassy in London, and was aimed at a sympathetic foreign audience. That it was a goverment-sanctioned publication might remind us that the Spanish Civil War was not a left-wing revolution, but the Fascist overthrow of a legitimately elected government. Using agency images, the book stresses that legitimacy, depicting scens of work, education and industry. It shows no fighting, only military training, and tragically stresses that the Republicans were on the verge of winning the struggle: 'in the military sphere the worst is over'. Alas, that was not the case (...)".
= For the exhibitions Jack Welpott. The Halide Conversion, Robert Dawson, Jo Ann Calis (2x), Richard Misrach, Heinecken Selected Works and Eileen Cowin.
AND 1 other on photography: B. KRUGER and K. LINKER, Love for sale (New York, 1990, richly illustrated, orig. pict. boards, 4to).
= Publication by the C.P.N. just before the 1937 elections.
Feiten uit de Sowjet Unie. No.6 and 8. Ibid., Ver. v. Vrienden der Sowjet Unie, 1932, 2 issues, 32; 32p., orig. (not unif.) photomontage wr. (by ?).
- No.6 backwr. dam.; both vols. sm. annot. and ticket on frontwr.
- Sl. occas. foxing; spine splitting at ends. (Very) good copy.
= Contains an introd. by Glaser, the essay "Fotomontage" by Cesar Domela-Nieuwenhuis (who also initiated and organized the exhibition), "Fotomontage in der USSR" (part of an essay by G. Kluzis), a "Verzeichnis der Aussteller" (w. addresses) and illustrations by i.a. R. Haussmann, H. Höch, Vordemberge-Gildewart, P. Zwart, P. Schuitema, H. Bayer, L. Moholy-Nagy, J. Tschichold, C. Domela-Nieuwenhuis, G. Kluzis and A. Rodchenko. Extremely rare. SEE ILLUSTRATION PLATE XXVII.
- Dustwr. frayed and sl. chipped. = Kerssemakers 2147.
- Tear in last free endpaper; bookplate on upper pastedown.
= Holstein, The Book Cover in the Weimar Republic p.310.
Knickerbocker, H.R. Der rote Handel droht. Der Fortschritt des Fünfjahresplans der Sowjets. German transl. C. Thesing. Ibid., E. Rowohlt, 1931, 1st ed., 203,(1)p., orig. limp boards w. photomontage dustwr. by P. URBAN.
- Dustwr. sl. frayed/ worn and strengthened on verso.
= Holstein, The Book Cover in the Weimar Republic p.310.
ADDED 2 others: H. MÜLLER-FRANKEN, Die November-Revolution. Erinnerungen (ibid., 1931, 2nd ed., orig. cl. w. dustwr. by J. TSCHICHOLD) and I. EHRENBURG, De Tweede Scheppingsdag (Amst., 1934, 1st ed., orig. cl. by C. OORTHUYS and J. VOSKUIL).
- Title-p. and verso frontwr. sl. foxed. Wr. sl. frayed and strengthened on verso; faint vertical knack in frontwr.
ADDED 2 others: M. ILIN, Moscow has a Plan. A Soviet Primer (London, 1931, ills. and orig. cl. by W. KERMODE) and G. GRINKO, Der Fünfjahrplan der UdSSR (Vienna/ Berlin, 1930, loosely inserted fold. col. map, orig. wr.).
- Wrappers sl. soiled and trifle worn at extremities.
= Brusse 816; Maan/ Van der Ree 100 and p.36: "De montage voor 'Nieuwe mensen in Moskou' krijgt zijn specifieke karakter door het verschil in beeldrichting: verticaal, horizontaal en diagonaal met daarbij het geraffineerd gebruik van de kleuren blauw en bruin."
AND 4 others w. (photomontage) (dust)wr. des. by C. Blazer/ W. Brusse (A. RUIZ VILAPLANA, Ik verklaar onder eede. Rott., 1938, orig. plain wr. w. (dam.) dustwr.), H. Cahn (H. NOORDUYN-JANSEN, Recepten voor de reformkeuken. The Hague, n.d. (1936), ills., orig. (worn/ stained) spiral-bound wr.), Co-op 2 (F. AUGUSTIN, Frisch uw Duitsch op! Amst., (1941), orig. plain wr. w. (restored/ strengthened and stained) dustwr.) and C. Domela (E.E. KISCH, Tijdopnamen. The Hague, 1931, orig. cl. w. modern plain dustwr. w. the orig. (dam.) frontwr. laid down).
= One of 50 numb. copies with a loosely inserted original photomontage "Osram" by DOMELA (modern gelatin silver print, 19,2x17 cm., mounted on board leaf, mount signed "Domela" and "II/X" in pencil. No mention of Roman numb. copies in the colophon).
Maan, D. and Ree, J. van der. Typo-foto/ elementaire typografie in Nederland. 1920-1940. Utr./ Antw., Veen, 1990, 109,(2)p., num. (col.) ills., orig. cl. w. dustwr., 4to. - AND 3 others, i.a. J. FIEDLER (ed.), Photography at the Bauhaus (Cambridge, 1990, num. (col.) ills., orig. boards w. dustwr., large 4to).
- Folded; sl. creased. = Very rare pro-Hindenburg electoral pamphlet.
- Slipcase and wr. some fingersoiling. Box occas. splittng on joints.
= Kibbey 1466; Goeppert 115. According to Goeppert, "Picasso made some cut-outs of heads and silhouettes of men, women and animals. Villers mounted the cut-outs on different photographs - thirty in all - thus varying their effect and quality". SEE ILLUSTRATION PLATE XXVIII.
- Wrappers sl. discol. along margins.
= Bolliger III, 207: "Bedeutende avantgardistische Zeitschrift (...)". Contains contributions by K. Malewitsch ("Suprematismus"), H. Wescher ("Hommage à Malewitsch" and "Malewitsch in memoriam"), G.L.K. Morris ("On the abstract tradition") and S. Giedion ("Brauchen wir noch Künstler?").
- Center leaf loose. Wrappers sl. sunned along margins.
= Bolliger III, 207: "Bedeutende avantgardistische Zeitschrift (...)". Contains contributions by Gabrielle Buffet (on Picabia's periodical 391) and Hans Richter. WITH the loosely inserted manifesto "Dimensionisme" by CHARLES SIRATO (1 fold. leaf, 32x24 cm. (unfolded), printed in black on orange paper on recto and verso (sl. discol./ dustsoiled in outer margins, w. a few tiny marginal tears. Verso shows the manifesto, recto has quotations by various artists as well as a list of names of the artists who signed the manifesto, incl. Cesar Domela, Francis Picabia, Hans Arp, Ladislas Moholy-Nagy, Marchel Duchamp, Robert Delaunay, Sonia Delaunay, Sophie Taeuber-Arp and Wassily Kandinsky).