Laurence McGilvery

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Wendingen: jg. 1

Wendingen: jg. 1, no. 12, December 1918. Toorop nummer. With original etching

Toorop, Jan (1858-1929). Weijdeveld, Hendrik (1885-1987) Copy no. 17 of an unstated number, signed on the copyright page by Jan Toorop. Richly illustrated. 48 pp. + hors-texte frontispiece and etching. The pages were printed two-up and then folded and bound at the open edges, Japanese-style. Dark-red, pebbled cloth and boards. 32.2 x 31.5 cm (page size). The stunning periodical Wendingen is one of the great accomplishments of the 20th century. This special issue on the Symbolist artist and designer Jan Toorop celebrates his 60th birthday. This unusual copy, bound in cloth instead of the usual paper, includes a delicate, unsigned, original etching between pp. 42 and 43. It is printed in light grayish brown on smooth, off-white paper 32.2 x 26.5 cm, excluding the portion of the left edge inside the binding. The image is a bare, knarled tree in a courtyard between buildings, with tall woods beyond. The shadow on the upper half of the gutter side of the image is an artifact of the scan, not a flaw in the print. A printed legend at the bottom left margin reads: "Bijvoegsel van Wendingen. December 1918," indicating that it is a supplement or addition to the magazine. A very similar etching titled "Bos met vijver en zwanen" ("Forest with ponds and swans") in the Rijksmuseum, Amsterdam, bears a similar notice and must be closely related. Toorop has signed the copyright page in pencil, and it is stamped "No. 17," probably with a hand-held numbering machine. Willem van Konijnenburg created a dramatic. semi-abstract lithograph for the cover of this issue. The cover is not bound in, but its central section has been preserved and pasted down on the blank verso of the declorated endpaper to create a frontispiece for this copy. This alteration could be the publisher's method of differentiating a small number of special copies; more likely, it represents the original owner's choice, or the binder's. A small, oval label inside the front cover reads: "Librairie Papeterie Klausfelder, Vevey [Switzerland]." Small water stain at top of spine, but no sign of interior damage; minor wear at exposed edges of covers, which are slightly bowed. Signs of handling. Reese #WRCLIT70977 **Free domestic or international shipping with direct order.
Yes. je délivré vô. bon petits noirs." Original lithograph

Yes. je délivré vô. bon petits noirs.” Original lithograph, anti-slavery caricature, 1844

Daumier, Honoré (1808-1879) Where is Daumier when we need him? In the pages of Le Charivari and other newspapers Daumier portrayed with wit and precision and an unmistakeable style of drawing the foibles and follies of his fellow citizens in lithographs like this one, about 3900 of them in Le Charivari alone. His public cut them out of the papers and saved them by the tens of thousands, thus preserving them for us at still-affordable prices. This masterful one with its still-too-timely subject--downtown San Diego is shut down as I write this by demonstrators with racial justice on their minds--is printed on the back, as usual. It is Delteil 1313, 2nd state, plate number XXI in the series "Les philantropes du jour." The image is 20.8 x 23.1 cm. The paper has been cut down from the full newspaper size to 36-5 (irregular) x 25.4 cm. The original text, in barbarous French, reads: The pompous English captain, "Yes. je délivré vô. bon petits noirs. vô être emmenés en servioutoude par le négrier, qui été un polissonne. mais vô venir avec biaucoup de satisfactionne travailler pendant quatorze ans dans les colonies de la Angleterre." The slave, "Mais si nous li pas vouloir?." The captain, "Alors vous li recevoir des coups de bambou. jusqu'à ce qu'on voyé travailler vô avec biaucoup de bonne volonté et de satisfactionne!." Translation: "Yes, I will liberate you, you good little blacks. you shall no longer be held as slaves . instead you will joyfully sign up for 14 years in the English colonies." "But if we don't wish to join?" "Then you shall have as many receive bamboo strokes as you need. until you are ready to joyfully work with full satisfaction for us." Fine.
Romantic dadas. Involved in flying superlatives with Miguel Angel Rios

Romantic dadas. Involved in flying superlatives with Miguel Angel Rios

Rothenberg, Jerome No. 4 of 12 copies, numbered and signed by artist and author on colophon inside final gathering. 5 gathering in folder. Suffice to say that this tour de force is "constructed" out of BFK Rives and consists of a paper cover containing 6 loose gatherings of 8 pages each. . . sort of! Some of the pages are half-pages opening in various directions to expose the unexpected when turned. Nearly all are collaged, perforated, die-cut, even sliced! Ths is one of five similar works; the others are designed by Elana Herzog, Ruizhong Yao, Elana Herzog again (bound by Brigitte Benoist), and Julião Sarmento; All were published by Gervais Jassaud. Only one copy of each of these located in OCLC. The Rios version is in the Koopman Collection at the Koninglijke Bibliotheek, den Haag / the National Library of the Netherlands. In "Artists & Others: the imaginative French Book in the 21st century," Paul van Kappeleveen writes extensively of Jassaud and "Romantic Dadas." "The work of Rios is rooted in Argentinian culture but incorporates many elements of present-day American politics and society. His Romantic dadas is reminiscent of a wall covered with graffiti." "Jassaud's template for the publication was based on the idea that every page would be divided into two vertical strips, some of which were eut open. In each quire there was therefore a left or right-hand portion of the page that could be opened either up or down. That explains why Rothenberg's poems had to have short lines. The two panels on each page constitute an oblique reference to the Twin Towers." "The pages of this edition are packed with images of dogs and f!ies. Parts of pages were eut out, which meant that in the 'coupage' process words or lines of poetry occasionally disappeared altogether. Paper patterns were also added. For example, the spiralling of flies circling around rotting meat was shown. He introduced drawings done in pencil as well as in pen and ink, sometimes in dotted line patterns, at other times so lavish that Rothenberg's poems became secondary to Rios' graffiti." Very fine condition, of course.