Bernett Penka Rare Books Archives - Rare Book Insider

Bernett Penka Rare Books

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Manifest gegen Nichts ur die Internationale Ausstellung von Nichts. Manifesto contra Niente per L'Esposizione Internationale di Niente. Manifeste contre Rien pour l'Exposition Internationale de Rien

Manifest gegen Nichts ur die Internationale Ausstellung von Nichts. Manifesto contra Niente per L’Esposizione Internationale di Niente. Manifeste contre Rien pour l’Exposition Internationale de Rien

Hamburg.- Galerie Grundweg A single page broadsheet for an exhibition printed in red and black on cream-colored paper stock with typography in various font sizes by Onorio, and the text in each language oriented in a different direction on the page. 11 5/8 inches by 11 7/8 inches, folded to 8 1/2 by 8 1/2 inches. Loose as issued. Creasing, light browning to paper, overall very good. Hamburg/Basel, 1960. This broadsheet was published in conjunction with an "exhibition of nothing" organized by members of the Zero group, Fluxus members, and others. It consisted of an empty gallery with nothing for sale. The text on the broadsheet indicates that a price list of essentially nothing is available, and no one will be speaking at the opening of the exhibition. "Verkauft wird nichts, numeriert und signiert. Preisliste liegt aus. Zur Eröffnung spricht niemand." Participants included Carl Laszlo, Onorio, Rolf Fenkart, Bazon Brock, Herbert Schuldt, Piero Manzoni, Enrico Castellani, Heinz Mack, and Otto Piene. The exhibition caused a stir and was well-attended. In fact, the exhibition was held over to accomodate the large number of visitors. The manifesto states that the exhibition promotes Avantgardism, Conventionalism, Modernism, Conservatism, Communism, Capitalism, Patrioism, Internationalism, Monochromism, Monotonism, Zen, Surrealism, Dadasim, Lettrisme, Constructivism, Neoplasiticism, and Tachisme. As of February 2024, OCLC locates only two holdings in North America of this fascinating and notable document in the history of 20th century art.
  • $1,500
  • $1,500
26 Sketches in Color

26 Sketches in Color

Barr-Sharrar, Beryl & Pierre Lecuire A remarkable sketchbook with 25 original gouache paintings (there is no work number 14) by Beryl Barr-Sharrar, for Pierre Lecuire. Small oblong octavo (8 1/8 x 5 1/4 inches). Cardboard covers, metal spiral binding. Some light bumping to edges, paintings in beautiful and bright condition, overall excellent. N.p. (Paris), 1968. This beautiful notebook is inscribed inside the front cover, "Pour Pierre de Beryl, 20 Août, 1968, ces 25 esquisses en couleurs". The title is hand-written on the front cover, and a date of 1965 given under Barr-Sharrar's name. There is also a hand-written note from Lecuire, which mentions that Béryl was his neighbor in Paris in the 1960's and was married first to sculptor Roger Barr and then to Bill Rubin of the Museum of Modern Art, and has since returned to New York. Beryl Barr-Sharrar (b. 1935) is an American artist who studied the American Abstract Expressionists in Berkeley and New York before moving to Paris in the 1960's and beginning her career as a professional artist. In 1962 she co-founded the College Art Study Abroad program, and served as its director until she returned to the United States in 1968. She taught painting and printmaking at Mount Holyoke, and in 1970 began studying classical archaeology at the IFA at New York University. She continued to paint and exhibit her work for several years but after 1980, focused primarily on her academic career. A handful of years ago, she returned to exhibiting her work as a painter with a three-person show in Long Island City, in 2016. Her work was exhibited at the Lucian Durand Gallery in 1967, and of her paintings it was said, "Beryl Barr-Sharrar's work has the vigor and know-how of American action painting at its best, and the refinement of color of the School of Paris. The result is both captivating and awe-inspiring." Pierre Lecuire (1922-2013) was a French poet and publisher who collaborated closely with numerous artists to design and publish beautifully crafted books. It is unclear how exactly Lecuire and Barr-Sharrar crossed paths, but perhaps he became aware of her work during those exhibitions in Paris in the late 1960s. The 25 small paintings in this sketchbook showcase Barr-Sharrar's study of Abstract Expressionism and her bold use of color. A beautiful and unique volume of original art.
  • $2,750
  • $2,750
La Città Nuova. Quindicinale di Arte-Vita Diretto da Fillia (Later subtitles: Quindicinale di Architettura and Quindicinale di Architettura e Arte)

La Città Nuova. Quindicinale di Arte-Vita Diretto da Fillia (Later subtitles: Quindicinale di Architettura and Quindicinale di Architettura e Arte)

Torino, 1932-1934. Tabloid/folio (approx. 56 x 41.5 cm). Original self-wrappers; each issue 8 pp. Some browning to paper, toning, light scattered foxing, some issues with tears along fold lines, overall good condition. Twelve issues in eleven fascicules (Year I, Nos. 1 and 3-6; Year III, Nos. 3-9) of the important Italian Futurist architecture journal, under the direction of Fillia, a leader in the Futurist movement, with editorial assistance and contributions from other noted Futurist artists and figures including Alberto Sartoris, Enrico Prampolini, Nicolay Diulgheroff, Gino Levi-Montalcini, Mino Rosso, Gerardo Dottori, Filippo Marinetti, Walter Gropius, Le Corbusier, Bruno Sanzin, Emilio Odorizio, Pippo Oriani, Italo Lorio and many others, covering topics in domestic and international architecture including functional architecture, modern furniture design, aeropainting, Futurist landscape painting, public architecture, contemporary church architecture, African architecture, urbanism and ruralism, kitchen design, iron construction, Fascist architecture, new building construction in Spain, and many others. Illustrated throughout primarily from photographs. Fillia (Luigi Colombo) helped to establish the Futurist movement in 1923, and quickly became the group's leader and its principal theorist. He published a number of journals including Futurismo, Ventrina Futurista, La Città Futurista, Stile Futurista, and La Città Nuova, co-authored the Manifesto of Futurist Cooking with Marinetti, and designed the Futurist Pavilion at the 1928 International Exhibition in Turin. An excellent and scarce example from the height of the Futurist movement; as of October 2023, OCLC locates only four holdings in the United States.
  • $6,000
  • $6,000
IIIme convoi / Troisième convoi. No. 1 (Octobre 1945) through No. 5 (1951) (all published)

IIIme convoi / Troisième convoi. No. 1 (Octobre 1945) through No. 5 (1951) (all published)

Paris: 1945-1951. Octavos (19 x 12.7 to 21 x 14 cm). Original printed paper wrappers, housed in fitted archival slipcase; 16, 16, 40, 46, 30 pp. Some light toning, overall excellent. A rare complete collection in five fascicules of the Surrealist magazine under the editorial direction of French poet Michel Fardoulis-Lagrange. Cofounded with Jean Maquet, and with the collaboration of René de Solier and Raoul Ubac, five total issues were published. Speaking later on the spirit behind the journal, Fardoulis said "Nous avions fait une croix sur le sartrisme et le surréalisme, l'un pour sa conception de l'engagement, l'autre pour ses manifestations scandaleuses. Nous voulions nous situer ailleurs, dans le domaine de l'extériorité, c'est-à-dire dans le mythe du langage." He and Maquet chose the title after a famous line from André Breton, and meant to signify not a complete departure from Surrealism, but a slight shift in direction and approach. The issues contain brief works of prose and poetry with an occasional illustration, with contributions from Fardoulis, Maquet, de Solier, and Ubac, along with Francis Picabia, Louis Richet, Pierre Fallot, Georges Bataille, Marcel Lecomte, Georges Hénein, Georges Lambrichs, Antonin Artaud, René Char, Roger Gilbert-Lecomte, Jean Pfeiffer, Arthur Adamov, Raymond Michelet, Jean Grenier, Robert Cregut, Charles Cuits, and Yves Bonnefoy.
  • $2,500
  • $2,500
Dégradé. Suivi de Théâtre des marionnettes

Dégradé. Suivi de Théâtre des marionnettes, avec une composition de Jean Marembert

Paris: Éditions Réverberes, 1928. Octavo (21 ×13.5 cm). Original printed wrappers; unpaginated (33 pp.) including a frontispiece after a drawing by Jean Marembert. Overall very good condition. Limited edition of 300 copies. Rare volume of poems published by the neo-Dadaist group Les Réverbères, which was founded in December 1937 by Michel Tapié, Jean Marembert, Jacques Office, Pierre Minne, and Henri Bernard, and which promoted Dadaist exhibitions, jazz concerts, stage performances, and published literary works. Among the exhibitors were: Louis Cattiaux, Marembert, Pierre Minne, Tapié, as well as members of the "La Main à plume" surrealist group: Noël Arnaud, Marc Patin, Jean-François Chabrun, and others. Among other events, the group also organized "Tribute to Dada" soirées, which featured readings of texts by Tristan Tzara, Ribemont-Dessaignes, and others. In "Art of the Defeat: France 1940-1944," Laurence Bertrand Dorléac asserts that the group still met for several gatherings retaining the spirit of the 1930s even after the German occupation of France in June 1940. The Neo-Dadaist activities around Michel Tapié have not been explored to any significant degree and are rarely mentioned in passing in the literature on Dada and Surrealism. One exception is Michel Fauré's book "Histoire du surréalisme sous l'Occupation", published in 1982. The reason for the sparse state of research is probably that the experimental, elaborate avant-garde prints, most of which were produced in very small editions, are hardly accessible due to their rarity. Very scarce; as of December 2023, OCLC lists only 2 copies in North America.
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La Ligne de Coeur. Revue mensuelle. First series, No. 1 (November 1925) through 12 (Mars 1928) and Second series, No. I (Mai 1933) through V (Mai 1935) (all published)

A complete run in 17 total issues of the rare avant-garde literary journal. Octavo (8 x 5 5/8 and 8 3/4 x 5 1/2 inches). Original pictorial wrappers (first series) and original printed self-wrappers (second series). Covers of first issue detached, small loss to front cover of second issue, overall very good. Nantes: self-published, 1925-1928 and 1933-1935. This collection comprises a rare complete run of the literary avant-garde journal edited by Julien Lanoë (1904-1983), French writer and industrialist, and President of the Society of Friends of Musée des Beaux-Arts in Nantes from 1936 to 1970. Issues of the first series range from 62 to 72 pages, and the second series from 8 to 16 pages. The issues are comprised of prose and poetry, with contributions from Jacques Maritain, Maurice Fombeure, Robert Garric, Jean Cocteau, Marc Boasson, Constantin Balmont, Max Jacob, Jean-Marie Terrien, Henri Barbot, Léon Bloy, Roger Lesbats, Georges Hugnet, Claude Cahun, Victor-Emile Michelet, Maurice Sachs, Louis Émié, Pierre Menanteau, André de la Perrine, Jules Supervielle, André Salmon, Gabriel Marcel, Jean Aurenche, Philippe Thual, Alfredo Gangotena, Paul Sabon, Louis Guilloux, Pierre Colle, Edward Millpotts, Pierre Reverdy, Giorgio de Chirico, Georges Syam, André Gaillard, and others. Issue no. 4 contains the first printing of an important and often-quoted article by Claude Cahun, titled "Carnaval en chambre". In the brief four-page essay, she deals with the theme of the mask in art and society. Scarce; as of April 2024, OCLC shows holdings at four North American libraries, not all of which are complete runs.