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Dear Daad I Love You . Unique Letter Art Object.

BYARS, James Lee. 9 pieces of torn black paper, various sizes. 9 pieces of torn black paper each with manuscript text by James Lee Byars in pencil to recto and occasionally verso sides. A long and unique James Lee Byars' letter art object written on torn pieces of black paper. The letter reads as follows: (Sheet 1, recto:) 2. DEAR DAAD I LOVE YOU AND (BIGSPACE) DUNK- / HUH FOR THE GREAT APPOINTMENT AS / THE GERM-AMERCULTURAL ATTACHE /FOR 1975 (verso:) 1. MYLO L / 2. DEAR DAAD I LOVE YOU / K-HUH FOR THE(Sheet 2, recto) HOW WOULD YOU ALLOW ALL VIS 100% /IN ASENTIA (verso:) AND DUN- / GREAT APPOINT AS THE /. CULTURAL (Sheet 3, recto:) H.B. U.S.A FOR YR 200TH R.A. / FROM DAAD (HAPPY BIRTHDAY /TO THE UNITED STATES OF AMERICA /FOR YOUR 200TH REVOLUTIONARY /ANNIVERSARY FROM THE DEUTSCHER / AKA DOMISCHER AUSTAUSCHDIENST[arrow upwards] (verso:) GERM-AMER / ATTACHE FOR 1975 / 3. HOW WOULD YOU ALLOW /ALL VIS 100% INABSENTIA/ .YOU (Sheet 4, recto:) I WROTE THE PERFECT LOVE LETTER (ON DAAD) [circled] /?WRITE I LOVE YOU BACKWARDS /IN THE AIR? (verso:) 4. HENRY FORD GAVE / STH. GOOD DIDN (Sheet 5, recto:) 6. DID YOU SEE CASPER DAVID?S SCHILLER / STEPPING ON HIS WIFE?S WHITE /CHIFFON TAIL ? WHERE?S GOETHE?(verso:) 5. (Sheet 6, recto:) 7. SENATOR MUELLER SO COME IN /BER. WANTS TO BUILD A GOLDEN TOWER (Sheet 7, recto:) 8. HENRY FORD GAVE YOU STH. /4. GOOD DIDN?T HE ? WORUM ? (Sheet 8, recto:) 9. THE ONE WORD ANS. TO E AND W?S /FUCK (***. PHI.EPSI.OMEG. /= FUO CEASER TRANSLATED FUO./ TO FUCK FOR CLEOPATRA AS A LOVE /GIFT (THE PERF. EXAMP. OF OLD TO NEW /FROM GREEK TO HIGH LATIN WITH IMPROVEMENT)(Sheet 9, recto:) 10. I LEARNED BLACK IS THE COLOR OF HIGH /CEREMONY IN GERMAN (NOT JUST DEATH WHICH I ABBREV?D TH) The mention of 'DAAD' dates the letter to around the year 1974, when Byars was one of the recipients of the 1974 DAAD Artists-in-Berlin scholarship. At the time, Byars planned the construction of a '333-meter-high golden cylinder' in the wasteground by the Berlin Wall that would 'rattle the sky'. Needless to say, that project was unachieved, but Byars' thoughts on the subject did lead to 'The Golden Tower', a 4 metre golden cylinder, and the action 'The First Step of the Golden Tower,' at the Galerie Springer, where visitors were lifted and instructed to speak characteristically gnomic phrases. James Lee Byars (1932 - 1997), an artist with important Conceptual and Fluxus associations, was known to refer to himself as the 'World's Most Famous Unknown Artist'. Byars is often grouped with Duchamp, Broodthaers and Beuys in that his work is often in opposition to the idea of art as object although Byars maintained - with typical alliterative flair - his most important influences were 'Einstein, Gertrude Stein and Wittgenstein' (later 'Einstein, Gertrude Stein, Wittgenstein and Frankenstein'). His work, much of it based in performance and pageant, defies characterisation, however, his preoccupation with paper, cloth and other ephemeral material has ensured that much of his art falls into less traditional categories. An important part of Byars' oeuvre, influenced by his years living in Japan and the resulting interest in Japanese paper, calligraphy and origami, was the letter as art work, the object and idea in harmony, and the example presented here, is delightfully representative. 'Byars did, however, maintain communication with many important people in the art world, by means of an artistic correspondence that seems to have been his most consistent practise as an artist. Nearly every day, before dawn, he would rise and begin writing his spectacular letters . They were an extension of the Byars persona, even mirroring his costumes in their strict use of a few select colours and shapes. They were simply mystifying, difficult to read, confusing in their syntax even where legible; Byars was unknown because he was unknowable. One might delight in (or be maddened by) the experience of unfolding a fifty foot long piece of pink tissue paper, only to find the gold writing nearly indecipherable, and the message as much a poetic epigram as a personal communication. One is meant to experience the letters as an aesthetic occasion . '. (Taken from a contemporary review in Frieze magazine of the exhibition 'James Lee Byars: Letters from the World's Most Famous Unknown Artist').
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The Road is Wider than Long.

PENROSE, Roland. Small 4to. (222 x 176 mm). [30 unnumbered leaves]. Leaf with Penrose's presentation recto, leaf with additional inserted collage recto (held with photograph corner mounts) and original signed collage verso (this as called for - see below), half-title with pasted monochrome photographic frontispiece verso, title with justification verso, leaf with dedication 'For LEE' and Penrose's verse illustrated throughout with 38 pasted monochrome photographs and two text illustrations / compositions, 10 leaves with additional illumination by Penrose in various colours (as called for); printed text in red and black in various types throughout on cream Millbourn hand-made paper. Original publisher?s wood-grain boards, titles to front cover and spine in red (designed by Hans Bellmer), original monochrome photographs ('Sand Prints') by Penrose as endpapers (see below). An excellent copy of the very scarce édition de tête of 'The Road is Wider than Long' with two original collages, colour illumination by hand and a presentation from Penrose. From the edition limited to 510 numbered copies, with this one of 10 copies from the édition de tête on Millbourn Hand-made paper numbered in red ink, illuminated and with an original drawing by Penrose (as called for); this copy also with an additional original collage and a presentation by Penrose. Penrose's presentation is in orange ink to the initial blank: 'This is for Roy, / with no sense of time but / with lasting affection / Roland. / 25 Oct. 1972'. Sir Roland Penrose (1900 - 1984), the Surrealist painter, poet and collagist, noted collector, curator, historian, philanthropist, organiser of the London International Surrealist exhibition, founder of the ICA, friend to Picasso, Ernst, Eluard and other notable Surrealists (the list of Penrose?s accomplishments and friendships is near endless), wrote and illustrated ?The Road is Wider than Long? for Lee Miller, the pioneering photographer, war correspondent and photojournalist, muse to Man Ray and other Surrealists (again the list is near endless), after their peripatetic, amorous Balkan idyll in the summer of 1938. Penrose and Miller travelled from Athens, initially by sea to Mykonos, Delos and Syros, before continuing by road in Miller?s grey Packard convertible which she had had shipped from Egypt (Miller was married to an Egyptian at the time). Their road led to Epidaurus, Delphi, through Thessaly to Meteora and Kavála, with a detour to Thassos, before transiting Bulgaria for Bucharest and the Carpathians, then Balchik on the Black Sea and back to Bucharest where they parted: Miller to Egypt via Bukovina, Constanta and Athens, Penrose to Paris by train. ?The Road is Wider than Long? is Penrose?s Surrealist hymn of love to Miller - later in Egypt he gave her the original manuscript of his verse, ?labooriously calligraphed?, illustrated with his own photographs and ?a small collage? and bound in ?thick shoe leather? together with a pair of gold handcuffs by Cartier - and a paean to places and times yet untouched but soon to vanish or alter completely. In the édition de tête, the reproduction photographs are replaced with originals, their tone more pronounced, and ten of the leaves are illuminated by Penrose in watercolour and a variety of colour inks, highlighting and outlining passages, colouring initials or adding decorative vignettes. The endpapers too are original photographs, cropped versions of Penrose?s photograph ?Sand Prints? and it is tempting to imagine that the footprints photographed are those of Miller herself. Each of the ten copies from the édition de tête also include an original collage facing the half-title: that for the present copy depicts a surreal landscape, the direct painted background in blue and black overlaid with excised sections from a monochrome photograph of water, creating an effect of Stonehenge-like dolmen or a passage tomb beneath a yellow and orange sky with an outline black sun; the collage is signed at lower right ?R. Penrose? in black ink. The present copy also includes a further collage (118 x 170 mm) tipped-in to an initial blank with photograph corner mounts: entirely in monochrome, the collage consists of a background image of a featureless sea and horizon with a small belaboured boat at lower left over which is pasted a Victorian clifftop scene of a picnic. A seated group of women at right is flanked at left by a man in nautical dress indicating something on the horizon that a woman with telescope is viewing; a child clutches at her skirts while a further figure, prone for safety, looks over the clidff edge. The collage is completed by an additional figure pasted over both scenes, at left, the marble legs and torso of a classical nude with an added erect phallus of matching colour; it is clearly this phallus indicated by the nautical male and at which the woman with the telescope gazes. Penrose had learned the collage technique from Max Ernst in the 1920s and had assisted in the publication of Ernst?s ?Une Semaine de Bonté? (1934). While the colour collage called for on the justification is markedly the work of Penrose, the second collage is strongly reminiscent of Ernst?s own efforts, suggesting perhaps that it dates from this period. As Antony Penrose notes of Ernst, and it is certainly true of this collage, ?the images Max seized from diverse sources such as sales catalogues, magazines and advertising all had a homogeneous style, and when skilfully cut and pasted to form the wildly impossible scenes his imagination created, they presented a cohesive image ? it is often difficult to believe the picture is a composite? Roland Penrose continued to create collages throughout his career and together with frottage, a technique learnt also from Ernst, such works formed a considerable and important element of his oeuvre. ?This process known as ?collage? ? is at everybody?s disposal, being extremely simple, rapid and requiring no art-school training. In fact it may be cons
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Catalogue de L’Exposition de Peintures du Groupe Impressionniste et Synthétiste Faite dans le local de M. VOLPINI au Champ-de-Mars 1889.

GAUGUIN. Oblong 8vo. (155 x 242 mm). [8 unnumbered leaves]. Leaf with 'Exposants' and Gauguin's print 'Aux Roches Noires' recto, verso with list of exhibited works by the artist (nos. 31 - 47), following recto with Gauguin's print 'Les Faneuses', thereafter as follows: Schuffenecker (nos. 55 ? 67, 78, 69 ? 73, 83 with his print 'Ramasseues de Varech'); Emile Bernard (nos. 7 - 19bis, 75 ? 88 with his print 'Réverie'); Louis Anquetin (nos. 1 - 6bis) and Louis Roy (nos. 49 - 54bis, with Roy's print 'Gardeur de Cochons'); Léon Fauché (nos. 22, 23, 25, 26, 28 with his print 'Paysan'; Charles Laval (nos. 84, 85, 89 ? 96) and Georges Daniel (nos. 20 - 21bis, with his print 'Femme Lisant'); 'Ludovic Némo' (i,e. Emile Bernard, nos. 74 & 87, each a 'peinture' pètrole' and notice - see below) with his untitled print to the following recto; final verso blank. Printed text in French throughout, the prints all zincographs. Original publisher's striped paper printed wrappers with titles to front cover in black. The rare catalogue of the legendary exhibition arranged by Gauguin and his circle in 1889 at Volpini's 'Grand Café'. Monsieur Volpini of the Grand Café des Arts found himself in a predicament when the mirrors he had ordered for the interior of his cafe had not arrived in time for the opening of the official art exhibition at the Académie des Beaux-Arts. Emile Schuffenecker, part of Gauguin's artistic circle, (none of whom were invited to partake in the exhibition) convinced Volpini that their work instead could fill the walls of his otherwise empty cafe. This is the very rare catalogue for the resulting exhibition, held in June - July 1889; a poster, also of the utmost rarity, was also printed. Although now a legendary exhibition, at the time it was deemed a failure, no paintings were sold and the event was largely ignored by the press. This exhibition did, however, mark the first public exhibition of the 'Ecole de Pont-Aven'. The 'Exposants', in the order they appear in the catalogue, were Paul Gauguin (his illustration accompanying the list of the 'Exposants' conflated two of his exhibited paintings, 'Breton Eve' and 'In the Waves'), Charles Laval, Léon Fauché, E. Shuffenecker, Louis Anquetin, Georges Daniel, Emile Bernard, Louis Roy and 'Ludovic Nemo' (the pseudonym of Bernard). Van Gogh was asked to participate but his brother, Théo, acting on his behalf, refused the invitation. Beneath the list of works by 'Nemo' the catalogue states that an album of lithographs by Gauguin and Bernard was available for view on demand. 'Ce précieux et emblématique petit catalogue - bien évidemment d'une grande rareté . est illustré de 8 gravures - ce sont bien des gravures comme l'indique le foulage du papier, des zincogravures plus exactement - d'après des dessins de Paul Gauguin (2), Daniel de Monfreid (1), Emile Bernard (3) - qui scinde sa contribution en deux, utilisant le pseudonyme de Ludovic Nemo pour présenter des oeuvres de 1887 - Louis Roy (1), Léon Fauché (1) et Claude-Emile Schuffenecker (1) . Le dessin de Gauguin qui ouvre le catalogue, 'Aux Roches Noires', réalise une fusion de deux toiles peintes au Pouldu en 1889.' (Bazar à Treize, pg. 86). This early ephemeral catalogue is of particular scarcity: in France we can locate only the single copy at the Bibliothèque de l'Institut National d'Histoire de l'Art (lacking the front cover); OCLC adds two copies in Amsterdam at the Rijksmuseum and the Van Gogh Museum with no copies recorded in the US (although both the Getty and the Frick report copies); COPAC reports no copies in the UK. [see Bazar à Treize 199].
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INVITATION TO THE EXHIBITION OF JAMES LEE . Unique Invitation Art Object.

BYARS, James Lee. 2 sheets of tissue. (c. 90 x 155 mm when folded). 1 long sheet of pink tissue paper with manuscript text by James Lee Byars in white recto, the sheet has been folded 8 times and is housed within a piece of black tissue. A beautiful example of a James Lee Byars' unique invitation art object executed in white pencil on pink tissue paper. The invitation reads as follows: 'INVITATION TO THE EXHIBITION OF JAMES LEE AND BB WATCHING THE AMERHAUS FROM 11/11 FROM 1 TO 2 PM.' 'BB' refers to Byars' girlfriend Birgit Grögel. James Lee Byars (1932 - 1997), an artist with important Conceptual and Fluxus associations, was known to refer to himself as the 'World's Most Famous Unknown Artist'. Byars is often grouped with Duchamp, Broodthaers and Beuys in that his work is often in opposition to the idea of art as object although Byars maintained - with typical alliterative flair - his most important influences were 'Einstein, Gertrude Stein and Wittgenstein' (later 'Einstein, Gertrude Stein, Wittgenstein and Frankenstein'). His work, much of it based in performance and pageant, defies characterisation, however, his preoccupation with paper, cloth and other ephemeral material has ensured that much of his art falls into less traditional categories. An important part of Byars' oeuvre, influenced by his years living in Japan and the resulting interest in Japanese paper, calligraphy and origami, was the letter as art work, the object and idea in harmony, and the example presented here, is delightfully representative. 'Byars did, however, maintain communication with many important people in the art world, by means of an artistic correspondence that seems to have been his most consistent practise as an artist. Nearly every day, before dawn, he would rise and begin writing his spectacular letters . They were an extension of the Byars persona, even mirroring his costumes in their strict use of a few select colours and shapes. They were simply mystifying, difficult to read, confusing in their syntax even where legible; Byars was unknown because he was unknowable. One might delight in (or be maddened by) the experience of unfolding a fifty foot long piece of pink tissue paper, only to find the gold writing nearly indecipherable, and the message as much a poetic epigram as a personal communication. One is meant to experience the letters as an aesthetic occasion . '. (Taken from a contemporary review in Frieze magazine of the exhibition 'James Lee Byars: Letters from the World's Most Famous Unknown Artist').
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Mes Propriétés.

DOMINGUEZ, Oscar / Georges Hugnet. Michaux, Henry. 8vo. (194 x 148 mm). pp. 134, (iii). Leaf with half-title and Michaux's presentation, 'Du Même Auteur' verso, printed title with justification verso and 'Première' to 'Cinquième Partie' of Michaux's text, leaf with 'Table des Matières' recto and achevé d'imprimer verso, the text illuminated by Oscar Dominguez with 12 original colour gouache compositions, 4 full-page and 8 at the conclusion of poems / texts, 10 initialled at lower left or right 'O. D.' (various sizes - see below). Full two tone crushed morocco over wooden boards by Georges Hugnet executed by Mercher and with their signatures in black, front board in café au lait morocco with 37 grey iridescent buttons stitched to board at outer edge with cream thread in three vertical lines (12 / 13 / 12), rear board in grey crushed morocco with 37 pearlescent buttons stitched to board with grey thread in three matching vertical lines (12 / 13 /12), vertical title to spine ('MES PROPRIÉTÉS') in blind in matching two tone calf (cream on grey / grey on cream), mauve silk patterned endpapers, original cream and blue printed wrappers with titles and publisher's credits and backstrip preserved, grey morocco-backed white wool-lined wood board box with silver titles to spine. An extraordinary Surrealist objet-livre: the édition de tête of Henry Michaux?s seminal ?Mes Propriétés? presented to Georges Hugnet, illuminated by Oscar Dominguez at Hugnet?s request and in a Surrealist binding by Hugnet. From the edition limited to 270 numbered copies, with this one of 20 from the édition de tête on papier Japon numbered in Roman numerals and with a presentation from Michaux in black ink to the half-title: 'Amicalement / à Georges Hugnet / qui remplira de couleurs seulements / MES PROPRIÉTÉS [printed] / qui en saut si vides. / H. Michaux'. On the initial blank verso (facing the half-title) is a note in pencil in Hugnet's hand: 'gouaches d'Oscar Dominguez / exécutées sur ma demande en 1943 / pour orner cet exemplaire / de Mes propriétés [the title underlined]'. Oscar Dominguez (1906 - 1957), the Tenerife-born Surrealist, arrived in Paris in the early 1930s with the new wave of international Surrealists Paalen, Brauner, Matta, and Seligmann - he joined the movement in 1934 and contributed to the later numbers of ?Minotaure? - and the return to automatism. Dominguez invented a new process, taken up with enthusiasm by Breton, Hugnet, Tanguy et al, that of ?décalcomanie? (see below), the first new process of Surrealism since Ernst?s frottage technique. Initially influenced by Tanguy, Dali and Picasso, Dominguez became a prolific maker of Surrealist objects, the 1936 ?Pérégrinations de Georges Hugnet?, for example, ?a diminutive horse locked into a toy bicycle? that ?refers to the time when Hugnet made his living delivering toy slot-machine prizes by bicycle? (Ades) but also a painter of liminal power. The ?Pérégrinations de Georges Hugnet? illustrates the close friendship between Hugnet, the urbane historian of dada and Surrealism, and the elephantiasis-suffering Canarian who had caused Victor Brauner to lose an eye in a brawl, and the work was exhibited at the Ratton Gallery?s ?Exposition Surréaliste d?Objets? along with Hugnet?s own ?book objects? (reproduced with a text by Péret in ?Minotaure? no. 7). Hugnet and Dominguez collaborated on several editions and books: ?La Hampe de l?Imaginaire? published by Guy Lévis-Mano in an edition of 70 copies in 1936 (that work includes Dominguez?s ?truly exqusite drypoint? ?La Femme à la Bicyclette?), ?La Carte Surréaliste? of 1937 (Dominguez?s contribution, no. 11, was ?Ouverture / Opening?) and ?Le Feu au Cul? published by J.-Robert Godet anonymously in an edition of 53 copies in 1943 with Dominguez? ?Cubo-Surrealist? erotic engravings and illustrations. ?Le Feu au Cul? was produced clandestinely in Paris during the Occupation when both Hugnet and Dominguez remained in Paris. Both were involved in the production of subversive publications, both books and periodicals - Hugnet?s ?Non Vouloir? (illustrated by Picasso), Amy Bakaloff?s ?Sombre est Noir? (with an etching by Dominguez), ?Les Pages Libres de la Main à Plume? and others - and it is unsurprising that Hugnet should ask Dominguez, as the pair together with Picasso and Eluard met weekly on Wednesdays at the Catalan bistro, to illuminate his copy of Michaux? ?Mes Propriétés?; Michaux also remained in Paris. The twelve exquisite gouache vignette paintings are typical of Dominguez? so-called ?metaphysical? period of 1942 - 1943 (pace Ana Vázquez de Parga) marked by a return to the use of strong colour and a rigorous geometric conception to create abstract, suggestive images of the unconscious: conceptions most fitting for the work of a writer of a similar bent, Henri (or Henry as he is credited here) Michaux. Although not strictly a dadaist or Surrealist, Henri Michaux (1899 - 1984), the Belgian-born poet, author, traveller, psychedelic voyager, and painter, had affinities with both movements but was ?hostile to systems and literary theories, collective movements and exhibitionism? and ?developed in the margin in his own original fashion? (Broome). Michaux?s ?Mes Propriétés?, published in 1929, although not his first book, saw Michaux present a number of copies to significant literary figures - Eluard was another recipient - in an effort for recognition. A mixture of verse, prose poem and pensée, ?Mes Propriétés? is an extraordinary work of sui generis literary invention, prefigured by Lautréamont (the pseudonym of Isidore Ducasse), Stéphane Mallarmé and Arthur RImbaud. It is likely that the connection between Michaux and Hugnet was Eluard himself, although the literary circles of Paris of the period - despite the rigours of Breton?s Surrealist strictures - tended to overlap. Michaux certainly knew Hugnet and was present at the performance of Picasso?s ?Désir Attrapé par la Queue? in the apartment of Michel Leiris, along with Braque, Brassaï, Lacan, Pierre Reverdy a
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Ausgewählte Lieder für eine Singstimme mit Begleitung des Pianoforte, Componirt von L. van Beethoven.

BURNE-JONES, Sir Edward Coley. 4to. (276 x 198 mm). [47 leaves; pp. 93]. Leaf with printed pictorial title recto and 'Inhalt' verso and 46 leaves with Beethoven's 'Liede' for piano printed recto and verso, final leaf recto only. Full contemporary vellum, front board with original painting and presentation by Edward Burne-Jones in oil and gilt (see below), loose in original maroon velvet-lined hinged gilt display frame with clasp (386 x 304 mm). [PROVENANCE: Presented by Burne-Jones to Mary Gladstone with inscription to painted front cover: 'MG 18 / 80 / from EBJ' and tipped-in letter to front pastedown (see below); bequest by Mary Gladstone (under her married name Mary Drew) to her friend Kathleen Alington with inscription in blue ink to front free endpaper: 'Bequeathed to Kathleen Alington / by Mary Drew - / 1927 - '; presentation inscription from Kathleen Alington in blue ink to same leaf: 'Given to Elizabeth Wansbrough / in memory of her friendship / with Kathleen Alington / March 27th 1938'; sold as part of the Lewis Collection at Sotheby's, London, June 7th, 1995; with Peter Eaton; private collection, Japan]. An exceptional gift: Beethoven's 'Lieder' in a binding painted by Sir Edward Burne-Jones and presented by him to Mary Gladstone, daughter of the Liberal Prime Minister. This extraordinary work, painted and presented by Burne-Jones to Mary Gladstone and later bequeathed by her, has been associated for much of its existence with three families, each connected intimately with each other and with the artist himself. Burne-Jones' painting for the cover is a beautiful confection incorporating many themes from Burne-Jones' larger oeuvre: headed 'Beethoven' in an elegant calligraphy in black oil, the title is supported and entwined with - at left - a five-petalled rose with two opening buds, seven sprays of leaf and thorns that climbs a support from the foot to the head of the board; at right is a painted panel with gilt and scarlet frame enclosing a figure in blue flowing robes with five-stringed lyre and floral coronet, a strolling minstrel in a blue-skied, hilly landscape with wild flowers, foliage and shrubs, identified at left of frame with vertical capitals as 'ORPHEUS'; beneath the frame in blue paint are Gladstone's initials 'M G' and the date '18 / 80'; at lower right in ochre paint - and in rather smaller lettering - is Burne-Jones' presentation: 'from EBJ'; the remaining surface of the board is covered with a dense decor of blue flowers - they appear to be agapanthus - providing a superb contrast against the white vellum and a context for the more overt elements of Burne-Jones' composition. Mary Gladstone (1847 - 1927), daughter of William Ewart Gladstone, and his confidante, advisor and for a time private secretary, was one of a number of young, accomplished and fashionable women befriended by Edward Burne-Jones during the 1870s and 1880s. Many of those most important to Burne-Jones, among them Mary Gladstone, Frances Graham (daughter of his patron William Graham and likely the person who introduced Gladstone and Burne-Jones), May Morris (daughter of his friend William Morris) and Margaret Burne-Jones (the artist's daughter), feature in Burne-Jones' muse-filled painting 'The Golden Stairs' of 1880 and it was in 1880 that Burne-Jones presented this book to Gladstone. As an accomplished musician ('music was her passion', DNB) this collected edition of Beethoven's 'Lieder' would certainly have appealed to Gladstone - her 'great susceptibility to musical sounds' was noted by her father when she was barely more than a month old - but as the binding and presentation (and the provenance with the successive bequests of the book) suggest, it must have meant rather more. Beethoven too was of great significance for Gladstone, although she was overheard to say, and perhaps in relation to one of the 'Lieder' in the present volume: 'I know Beethoven wrote it like 'that', but I like to play it like this'. Burne-Jones made few painted bindings and of those we can trace, all save those made for personal use, were created as gifts or for presentation. Frances Graham (later Mrs. John Horner), another of Burne-Jones' great friends, was the recipient of two painted bindings (copies of 'The Apocrypha' and 'The Book of Common Prayer') in 1879 and 1880, as was Helen Gaskell, recipient of the same works in the 1890s, but the only other painted binding we can locate was made by Burne-Jones for himself, on the binding for his own copy of Caxton's 1485 edition of Sir Thomas Malory's 'Morte d'Arthur'. Mary Gladstone's painted binding therefore represents something of a rarity, but more importantly, an indication of a profound sympathy between an artist then in his 50s and a woman, by 1880 with her father re-installed as Prime Minister in the same year, of considerable influence and social and political importance, albeit nearly 20 years his junior. The two had begun corresponding in the 1870s and their friendship was to endure, even after Gladstone's marriage in 1886 to the Reverend Harry Drew (Burne-Jones painted their daughter Dorothy in 1893), until the artist's death in 1898. It is worth noting too that the award of Burne-Jones' baronetcy was proposed in 1893 by Mary's father, William Gladstone, as outgoing Prime Minister; the award was made in the following year, 1894. In addition, Burne-Jones' last work and one about which he corresponded with Mary, was the stained glass window he designed to commemorate her father at the Church of St. Deiniol, Hawarden, completed a few weeks before the artist's death in 1898. The artist presented the binding - as per the painted cover date - in 1880 and tipped-in to the front pastedown is Burne-Jones' affectionate and typically self-deprecating letter (undated) attesting to this fact: 'My Dear Miss Gladstone / Lo! Thy little book - and / bear to use it - use will make / it better & the colours are / dry and no harm will happen to it - only a badhearted / person scraping it with a knife / out
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Die Silbergäule MERZ – Die Kathedrale.

SCHWITTERS, Kurt. 8vo. (224 x 144 mm). [8 unnumbered leaves]. Cover with lithograph title by Schwitters and additional white pasted on label with printed lithograph text recto and 'Von Kurt Schwitters' with list of works verso, 7 leaves with Schwitter's original monochrome lithographs recto, leaf with list of works of 'Die Silbergäule' recto and 'Neue Graphik' verso, rear inner wrapper with list of 'Einmaligen Vrozusausgabe' (all published by Paul Steegemann), rear wrapper with printer's credit and additional half of pasted on paper label printed lithograph text. Original publisher's brown printed wrappers including the white paper lithograph label to front and rear covers cut as usual, stapled as issued. An excellent example of one of Schwitters' finest productions, 'Die Kathedrale', including the additional white paper label to the front and rear covers. 'The booklet 'Die Kathedrale' with 8 lithographs by Schwitters was published by Paul Steegemann's Silbergaule series in 1920. The prints differ greatly from one another. Some are drawn in free rhythms on a light ground and present once more the motif of pseudo-functional machinery or show Dadaistically combined elements familiar from the drawings (windmill, coffee mill, house, stroller, handwriting, numbers). Others are compact and flat-looking 'abstract' forms - rectangular or oval. Here too Schwitters made use of 'foreign matter' such as pieces of shoe leather and patterned material (presumably confectioners' paper such as he often used in his early collages, but pasted on the process block). The Kathedrale graphics are doubtless the finest, most original works produced by Schwitters at this time, and they deserve a place of honour in the history of modern graphics.' (Schmalenbach). 'When he published an album of lithographs in 1920, 'Die Kathedrale', he put a sticker on the front reading 'Vorsicht: ANTi-dada', and one of the lithographs inside places 'Merz' and 'Der Sturm' together inside a box with 'Dada' on the outside.' (Ades). [Ades 6.7 & 6.33, see pg. 123].
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Deauville.

VAN DONGEN, Kees. Poiret, Paul. Folio. (452 x 324 mm). [7 bifolia + 10 inserted leaves of colour plates (inclding suite)]. Half-title with limitation verso, printed title, leaf with justification and 5 bifolia (see below) each with vignette with pochoir colour and printed text and each accompanied by a full-page hors-texte plate with pochoir colour, all engraved by Maccard after Van Dongen's original watercolours; with the additional signed suite of full-page plates. Loose as issued in original publisher's wrappers with Van Dongen's illustration to front cover, original cream cloth-backed blue board chemise with title to spine in blue and matching slipcase. Kees Van Dongen's beautiful 'Deauville' with the additional suite with each plate signed by Van Dongen in pencil. From the edition limited to 317 copies, with this one of 20 nominatif copies - this copy on Japon - together with a signed suite of all of the hors-texte plates also printed on Japon. The printed text, divided into five sections each with a vignette illustration and a full-page plate by Kees Van Dongen, is by the couturier Paul Poiret: 'La Salle de Jeu', 'Soirée de Gala', 'Le Gala de Costume de Bain ou Deauville 1930', 'Le Grand Prix de Normandie' and 'Deauville 1920'. 'Chaque âge a son historien, son peintre, son couturier. Jongkind et Boudin avaient raconté la grève, le marais Vernier, le jusant, le flot, le sable, l'estacade pleine de moules, les feux, les balises, le phare. Van Dongena dit la flore spontané d'élégance jaillie des fonds spongieux, les femmes pareilles à des actinies, à des madrépores, vibratiles, voluptueuses, sensitives, irritables. Est-ce une plage de sable ou de galets? Ma foi je ne sais plus; c'est une plage de planches, c'est Deauville, quoi!' (From Poiret's text).
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MERZ 6: Jmitatoren watch step! / ARP 1: Prapoganda und Arp.

SCHWITTERS, Kurt. 8vo. (222 x 144 mm). [8 unnumbered leaves; pp. 49 - 64]. Printed text illustrated with monochrome reproductions of paintings, drawings, sculpture and photographs, as well as typographic text ornaments and dada typography; printed text and illustration on pale yellow paper as issued. Original publisher's blue printed wrappers with typographic dada designs to covers, stapled as issued. An excellent copy of the very scarce 'MERZ 6: Jmitatoren watch step!', the sixth number of Kurt Schwitters' eclectic Hanover dada review. 'MERZ 6' includes texts by Schwitters ('WATCH YOUR STEP!'), van Doesburg, M. Josephson, Tristan Tzara (wwriting on Arp in 'ARP'), Mondrian ('HET NEO-PLASTICISME') et al. The illustrations are by El Lissitzky ('Proun'), Tatlin, Sophie Taeuber (not yet Taeuber-Arp), Schwitters ('Das Merzbild'), Hirschel Protsch ('Stempelzeichnung'), Mondrian and others. The pagination throughout the issue is continuous but 'MERZ 6' (pp. 57 - 64) runs from the front cover to the centre of the issue where the text is then inverted; the rear cover is an additional front cover with the title 'ARP 1: Prapoganda und Arp' (pp. 49 - 56) and the text runs as usual until it reaches the centre spread where it is then inverted. Given that this is an issue of 'MERZ', and that 'MERZ' features continuous pagination throughout the issues, it seems that Schwitters is both subverting his own publication and beginning a new one with the title 'ARP'; given that 'ARP' runs on in pagination from the previous issue of 'MERZ', it also appears that Schwitters is giving priority to his new project and his friend. [see Ades pp. 123 - 126 & 130 (for a detailed list of the content); see Le Fonds Paul Destribats 204].