Kandinsky

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KANDINSKY, Wassily Char, ReneBiblio.com

Le Marteau sans Maître.

193447944Paris.: Editions Surréalistes. 1934. Full black crushed morocco by Georges Leroux with his signature gilt boards with abstract geometric rules in gilt and green and outlined parallelograms several with inlaid café crème calf smooth spine with gilt titles café crème calf doublures bright green brushed suede free endpapers original publisher's printed wrappers in black and red and backstrip with titles in black preserved a.e.g. black morocco-edged green paper-covered board slipcase with additional signature at foot. 8vo. 192 x 146 mm. Leaf with half-title recto and 'Du Même Auteur' verso leaf with Kandinsky's dry point engraving as frontispiece verso printed title in red and black with copyright verso Char's verse two leaves with 'Table' and final leaf with justification and achevé d'imprimer recto. PROVENANCE: Discreet bookplate of bibliophile François Ragazzoni with his name and initials 'F R' in blue to front free endpaper verso. The édition de tête of the first edition of René Char's collection with Wassily Kandinsky's original frontispiece etching and bound by Georges Leroux. From the édition de tête limited to 20 numbered copies on papier de Hollande van Gelder with Kandinsky's original dry point engraving as frontispiece; only copies from the édition de tête were issued with the original engraving.Also included inserted loose is the scarce subscription announcement printed on yellow paper 172 x 272 mm with a quotation from the Comte de Lautréamont ' . Pour le moment et pour plus tard vous n'avez pas besoin d'en savoir davantage' and with manuscript notes verso in pencil in an unidentified hand these mention 'Picasso - Parade' 'Cocteau' 'No sur les Ballets Russes' etc.Kandinsky's untitled etching issued in only 20 impressions was followed by only two further etchings those for 'La Main Passe' 1934 and 'Fraternity' 1939 before Kandinsky's death in 1944. Pablo Picasso was a profound admirer of Char and of the work which collected all of Char's poems published after 1927 and submitted an etching for the second edition - printed in a very similar format to this edition - published again by José Corti's Editions Surréalistes in 1945. A third illustrated edition was also published illustrated by Joan Miró in 1976. This first edition and in this issue of 20 copies with Kandinsky's etching is the rarest of the editions; Picasso's etching for the édition de tête was issued in 25 copies while the version with Miró's etchings was an edition of 215 copies 50 with an additional suite.'Le Marteaus sans Maître' includes 'Abondance Viendra' 'Poèmes Militants' it appeared here for the first time 'Arsenal' corrected and with four new poems 'Artine' and 'L'Action de la Justice est Eteinte'. In the present copy the poems 'Sosie' and 'Détachement' feature corrections by Char in green ink. He has amended the last line of 'Sosie' to read: 'Je ne vais pas au bout de ta pauvreté' for 'tes misères' a change reflected in the subsequent editions. The first line of 'Détachement' 'La fleur du pissenlit a perdu son identité' is crossed through and Char has drawn an arrow to it from a note beneath: 'Ce vers ricanait qu'il meurs / comme tant ce fin ricane. / R. C.' 'Détachement' was renamed 'Dentelée' for subsequent editions but was altered considerably by Char and the first line crossed through here was removed entirely.'Des trois éditions illustrées du 'Marteau sans Maître' celle-ci la première est la plus rare . Dans une lettre à Char du 28.11.1933 Kandinsky accepte la demande de fournir une gravure pour son livre bien qu'il ne connaisse pas l'auteur. Avec 'La Main Passe' de Tzara c'est le seul ouvrage poétique illustré par Kandinsky sic . '. De Parallèlement à Chanson Complète.'Auflage: 20 eigenhandig signierte Exemplare auf Van-Gelder-Butten . Veroffentlicht in der Luxusausgabe von Rene Char 'Le Marteau sans Maître' Paris Editions Surréalsites 1934.' Roethel.Roethel 199; see 'De Parallèlement à Chanson Complète' pp. 357 - 364; see lot 100 'Bibliothèque François Ragazzoni Seconde Partie: Editions Originales' Paris 13 / 14 May 2003. Editions Surréalistes. hardcover

KANDINSKY, WassilyBiblio.com

Sélection.

1933190263Anvers: Éditions Sélection 1933. Inscribed to the founder of Britain's first abstract art journal during the Paris visit that inspired it First edition presentation copy inscribed by Kandinsky to Myfanwy Evans on the title page "Mlle. M. Evans Comme souvenir de sa visite à mon atelier Kandinsky Paris 8 IX 34" "as a souvenir of her visit to my studio". In the summer of 1934 Evans visited Paris where she met avant-garde artists including Kandinsky Giacometti Arp Mondrian and Brancusi. The meetings were decisive: on 26 September Evans wrote to Kandinsky "I'm going to start an English magazine on abstract art but abstract only not surrealism" Barnett p. 44. The first issue of Axis published in January 1935 drew heavily on Kandinsky's Concerning the Spiritual in Art a foundational text of abstraction. The issue also reproduced Kandinsky's "Drawing 1924"; the reproduction was made directly from this copy as shown by pencil annotations on page 43 in the hand of Evans's future husband John Piper directing the printer to retain Kandinsky's signature. Evans maintained her connection with Kandinsky - the second issue of Axis also included a Kandinsky illustration and Evans's article "Kandinsky's vision" and in 1937 Kandinsky contributed the essay "Empty Canvas etc" to her anthology The Painter's Object. Sélection was founded in 1920 and from 1928 its numbers became single-artist monographs. This Kandinsky number published in July 1933 was the last of the series. Edited by Kandinsky's close friend and early champion Will Grohmann it includes essays and tributes by Zervos Baumeister Seuphor Rivera de Ridder Cary and Galka Scheyer. It illustrates Kandinsky's prints from 1902 to 1932 and drawings from 1910 to 1932. Kandinsky assisted with the publication. Small quarto. Portrait and 15 full-page half-tones after Kandinsky 48 full-page line blocks vignettes and title page ornament. Original brown wrappers printed in dark brown. Wrappers a little worn with book block loosening light soiling and toning: a good copy. Vivian Endicott Barnett Kandinsky in Paris 1985. unknown

Peter Harrington · Royaume-Uni8 500,00 £GB≈ 9 705,30 €

KANJINSUKI, Vuashiri (Wassily Kandinsky). Obara Kuniyoshi (Trans).Biblio.com

Kanjinsuki No Geijutsuron. Uber das Geistige in der Kunst Insbesondere in der Malerei.

192446222Tokyo.: Idea-Shoin. 1924 Tai Sho 13. Original publisher's scarlet cloth with gilt vignettes after Kandinsky to front and rear boards original card slipcase with illustration after Kandinsky to front cover and printed text in Japanese to spine and rear cover. 4to. 258 x 198 mm. Printed title in Japanese and Western characters on glossy paper monochrome photographic portrait of Kandinsky with reproduction of his signature as frontispiece Kandinsky's translated text in Japanese with occasional insertions in Western characters illustrated with 9 monochrome text vignettes 3 'Tabelle' of colour theory and 57 plates on a variety of paper stocks 9 in colour and 48 in monochrome several with multiple images on the same sheet including the 'Abbildungen' at rear final leaf with imprint verso; the illustration incorporates that for 'Uber das Geistige in der Kunst' as well as many from 'Klänge'. A very scarce edition of Kandinsky's Uber das Geistige in der Kunst published in Japan in 1924.Although Reinhard Piper feared that Kandinsky's treatise on abstraction would not sell well the book required three editions in the first year it was published. This Japanese edition published nearly 15 years after the original incorporates the text and woodcuts of the earlier editions as well as Kandinsky's later introductions to the first and second editions as well as illustration from 'Klänge'. The majority of the plates depict work by Kandinsky but works by Dürer Raphael Cézanne and others are also included.The Japanese translation is by Obara Kuniyoshi 1887 - 1977 the publisher translator and educational theorist and president of Tamagawa University which he founded. His Idea-Shoin publishing house later the Tamagawa University Press was established in 1923 and aimed to produce teaching material educational work for children Obara published the first encyclopedia for Japanese children as well as the complete works of the Swiss educator Johann Heinrich Pestalozzi. Obara's translation of the present work is not only an indication of the importance of Kandinsky's text and theories but also casts light on the emergence of Japan's own avant-garde and its international influences.'The book which he Kandinsky claimed had been gestating for nearly a decade elucidated his artistic theories and his valuing of expression and spirituality over naturalistic representation. It also introduced his new pictorial categories derived from the field of music - impressions improvisations and compositions - which further de-emphasized the importance of recognizable subject matter. On the cover and in ten woodcuts Kandinsky illustrated his ideas by reducing complex scenes of spiritual battle and redemption to simplified designs of lines and shapes. For Kandinsky abstraction was a weapon for transforming what he perceived to be a corrupt materialist society.' see MOMA catalogue.'One of the most important manifestos of modern art. Written in 1910 and first published in 1912 Kandinsky's book is anti-materialistic and anti-naturalistic calling for painting that goes beyond a recording of the visible world. The non-objective woodcuts are historically important as early graphic demonstrations of the artist's thesis.' The Artist and the Book.Obara's translation is scarce and we can trace only the copies at the Metropolitan Museum and the Phillips collection outside Japan for which OCLC list copies at the National Diet Library and Waseda University Library.see Roethel 82 - 92; see The Artist and the Book 137 for the first edition of 1912. Idea-Shoin. hardcover

Sims Reed Rare Books · Royaume-Uni2 750,00 £GB≈ 3 139,95 €

[Goebbels, Joseph]; Georg Grosz; Ernst Ludwig Kirchner; Paul Klee; Georg Kolbe; Otto Dix; Wassily Kandinsky; Marc ChagallBiblio.com

Entartete Kunst Ausstellungsfuhrer Degenerate Art Exhibition Catalogue with "Der Ewige Jude" The Wandering Jew exhibition postcard

1937140947814Berlin: Verlag fur Kultur- und Wirtschaftswerbung 1937. Near Fine. 32 pp. Bound in publisher's side-stapled pictorial wraps. Illustrated with black and white art reproduction photos. Text in German. With laid-in "Der Ewige Jude" The Wandering Jew exhibition postcard postmarked Bremen 1939. Near Fine with light edge wear and age toning; postcard evenly toned contemporary German stamps on the verso with 1939 postmark. <p>In the aftermath of the confiscation of nearly 20000 art works from German museums Adolph Hitler's Ministry of Propaganda organized an exhibition of modern art in order to decry its racially impure deleterious character and supposed backing by Jewish interests in the Weimar era. The exposition was hosted at the Institute of Archaeology in the Hofgarten on July 19 1937 in Munich and later traveled throughout Germany. Organized by the Ministry of Propaganda leader Joseph Goebbels the show was designed to reinforce in the German public mind that subversive decadent or avant-garde art work would not be tolerated in the Third Reich. Attended by over two million visitors the show displayed over 650 confiscated paintings sculptures and prints by 112 artists primarily German including Georg Grosz Ernst Ludwig Kirchner Paul Klee Georg Kolbe Otto Dix Wassily Kandinsky Marc Chagall and many other now-acclaimed modern artists. Targeted artists were the subject of merciless ridicule and denounced with most works displayed unframed and obscured by painted slogans. Attended most famously by Museum of Non-Objective Painting predecessor to the Solomon R. Guggenheim Museum director Hilla R who supported affected artists like Vasily Kandinsky Rudolf Bauer and others by exhibiting their work in the United States. Many works were destroyed lost or re-homed overseas after the fall of the Third Reich. <br /> <br /> <p>Laid-in is an antisemitic postcard for the third part of a series of Schandausstellungen or condemnation exhibitions "Der Ewige Jude" The Wandering Jew. The show opened on November 8 1937 to January 31 1938 in Berlin under Joseph Goebbels' direction. The exhibition traveled for the next year and a half attracting over 700000 visitors and concluding in March 1939 in Magdeburg. Verlag fur Kultur- und Wirtschaftswerbung unknown

Burnside Rare Books, ABAA · États-Unis2 000,00 $US≈ 1 692,20 €

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