Sims Reed Rare Books
August 2018
ANTES, Horst. Perse, Saint-John. Anrufung zum Preise einer Konigin. Stuttgart. Manus Presse. 1966. 4to. (344 x 262 mm). With 8 original colour lithographs by Horst Antes, each signed and numbered in pencil. Loose as issued in wrappers and white cloth-covered drop-back box. Horst Antes’ original lithographs illustrating Saint-John Perse. From the edition limited to 115 copies.
ÂŁ2,500
BELLMER. Bataille, Georges. Madame Edwarda. Paris. Les Editions Georges Visat. 1965. Folio. (384 x 252 mm). [16 bifolia; pp. 47, (i), (i), (i)]. Leaf with half-title and ‘exemplaire’ with number verso, leaf with Bellmer’s signed engraving as frontispiece verso, printed title in red and black, two leaves with introductory texts recto and Bataille’s text illustrated with 10 signed engravings, leaf with justification and achevé d’imprimer with additional signed vignette engraving; 12 original copper engravings by Bellmer, each signed in pencil at lower right. Loose as issued in original publisher’s cream wrappers with title to spine in black, magenta silk moiré chemise with gilt title to spine and matching slipcase. Hans Bellmer illustrating Georges Bataille’s Madame Edwarda. From the edition limited to 167 numbered copies (including 17 hors commerce numbered in Roman numerals for the collaborateurs et au dépôt légal) on vélin de Rives, with this one of 150 numbered in Hindu-Arabic numerals with 12 original signed engravings by Hans Bellmer. Written by Georges Bataille during the German occupation, Madame Edwarda was first published under the pseudonym Pierre Angélique in 1941; a revised second edition was illustrated by Fautrier (who was credited pseudonymously as Jean Perdu) and published in 1945. Bellmer created the engravings, which were printed on les presses à bras des éditions Georges Visat, in 1955 for an edition - the third - of Georges Bataille’s text published by Jean-Jacques Pauvert but they remained unpublished until the present edition of 1965; the typography, after Bellmer’s maquette, was by Fequet et Baudier. £7,500
BROODTHAERS, Marcel. Charles Baudelaire. Pauvre Belgique. Brussels. Daled, Gevaert & Lebeer. 1974. 4to. (325 x 250 mm). [76 leaves]. Blank leaf, leaf with reproduction in red and black with vignette portrait of the title of Baudelaire's 'Oeuvres Complètes', leaf with section title 'Sur la Belgique', leaf with printed frame reproducing the page size of Baudelaire's 'Oeuvres Complètes' with subtitle 'Pauvre Belgique' recto, verso with reproduction of page 1318 of same with frame and headline 'Pauvre Belgique' and without text and 70 leaves (pp. 1319 - 1457) with frame and headline 'De la Belgique' recto and 'Pauvre Belgique' verso, all without text, final leaf with list of works by the Bibliothèque de la Pléiade verso, blank leaf and final leaf with 'Note' and justification. Original publisher's white printed wrappers with titles in black to front and rear covers, Broodthaers' copyright to inner rear wrapper, additional semi-opaque glassine jacket with printed titles 'ABCABCABCABCA' masking the title 'PAUVRE BELGIQUE' of the wrappers. An excellent copy of Marcel Broodthaers' scarce gnomic artist book based on Charles Baudelaire's criticism of Belgium. From the edition limited to 44 copies on papier d'épreuve, with this one of 40 numbered examples (34) signed and dated Bruxelles, le 26 Septembre 74. M. B. by Broodthaers in black ink. In this artist book, like others in Broodthaers' oeuvre - Dumas' Vingt Ans Après or the words of Mallarmé for Un Coup de Dès N'abolira Jamais le Hasard - Broodthaers' concern is with and of a found text. Charles Baudelaire's highly critical Pauvre Belgique was begun in June 1864 but was never published during his lifetime (extracts were issued in 1887 in Le Progrès) and did not appear until 1952. Scathing in regard to Belgium, its people, their habits and outlook, Baudelaire's text has been assumed to reflect more on his own state of mind and misery than on Belgium itself but it certainly appears that Broodthaers' choice of text indicates a certain seriousness in his own attitude to it. In Broodthaers' version, Charles Baudelaire remains the author, the title remains the same and the work gives every appearance of being a large paper reprint of the Bibliothèque de la Pléiade edition of Baudelaire's Oeuvres Complètes (or at least a part of it) complete with the title in red and black and the vignette of Baudelaire. That appearance dissolves when one turns the pages further, only to find that although each page includes the frame of the original, the page number and the running headline, the text has been removed in its entirety; the nullification continues throughout, even to the final page (also in red and black) listing other works issued by the Bibliothèque de la Pléaide. In addition, although the front and rear covers are printed with the titles as per the book, Broodthaers has added a glassine jacket with a central printed title of its own ABCABCABCABCA which, when in place, effaces the title of Baudelaire's work. Broodthaers' final flourish is to give the book fictitious places of publication: Paris for the front cover, New York for the rear; the book was, as per the justification, printed at the expense of (pour le compte de) Herman Daled, Yves Gevaert and Paul Lebeer, all three resident in Brussels. L'on ne peut définir ce livre comme une contrefaçon / telle qu'elle fut d'usage courant chez les éditeurs bruxellois / pendant la période romantique. / Si contrefaçon, il y a, elle se trouve être une référence / dont la forme particulière renvoie aux polémiques actuelles / dépassant un cadre géographique précis. / C'est tout au moins, ce que j'ai visé. (Marcel Broodthaers 'NOTE' to the justification). [Jamar 42; Werner 19; Ceuleers 43; see Artists Who Make Books pp. 51 - 52].
£22,500
CLAVE. Rabelais, Francois. Gargantua. Lithographies de Clavé. Paris. Les Bibliophiles de Provence. 1955. Folio. pp. 257. Text and 59 original colour lithographs by Clavé. Loose as issued in publisher's printed wrappers, decorative board chemise and matching slipcase. Clavé illustrating Rabelais’ magnum opus. From the edition limited to 245 copies. Commissioned by the Bibliophiles de Provence.
£4,000
DUFY. Montfort, Eugène. La Belle-Enfant ou l'Amour à Quarante Ans. Paris. Ambroise Vollard Editeur. 1930. 4to. Illustrated with ninety-four etchings by Dufy, including vignettes and cul-de-lampes, and sixteen are full-page and hors texte. Loose as issued in original pictorial cream printed wrappers. Dufy illustrating Eugène Montfort. From the edition limited to 340 copies, with this one of 245 on vélin d'Arches.
£2,500
FRINK. Aesop's Fables illustrated by Elisabeth Frink. London. Alistair McAlpine & Leslie Waddington. 1968. Oblong small folio. Illustrated with four original lithographs, each signed in pencil by Frink and 46 monochrome and coloured drawings throughout the text. Original publisher's orange and tan morocco with gilt designs to the front cover, title gilt to spine; housed in green cloth slipcase, as issued. Elisabeth Frink illustrating Aesop's Fables. From the edition limited to 275 copies (25 hors de commerce) on Zerkall BĂźtten paper, each signed and numbered by Frink on the half title; the four signed lithographs were editioned at the Curwen Studio. ÂŁ2,500
HOCKNEY. Cavafy, C. P. Fourteen Poems by C. P. Cavafy Chosen and Illustrated with Twelve Etchings by David Hockney. London. Editions Alecto Limited. 1966. Folio. (475 x 336 mm). pp. (60). Illustrated with twelve original etchings by David Hockney together with the additional signed etching 'Portrait of Cavafy II'. Original publisher's purple cloth boards and black card slipcase. David Hockney's illustrations for Cavafy's poems. From the Edition A limited to 300 copies signed by Hockney in pencil to the justification and with the additional signed etching Portrait of Cavafy II loosely inserted, each etching is stamped Edition A on the verso. This was to be the first major series of etchings by Hockney since The Rake's Progress of 1963. [Tokyo 47 - 59].
ÂŁ7,500
MAN RAY. Eluard, Paul. Les Mains Libres. Dessins de Man Ray Illustrés par les Poèmes de Paul Eluard. Paris. Aux Editions Jeanne Bucher / Gallimard. 1937. 4to. (284 x 228 mm). [104 leaves]. Half-title, monochrome frontispiece with 'Des Mêmes Auteurs' verso with list of works, pictorial title (reproducing the wrapper with additional publisher's details) with copyright verso, leaf with introductory text by Eluard and 66 monochrome illustrations by Man Ray divided into five sections, all but the last 9 'illustrated' with a poem by Eluard, leaf with 'Table' and final leaf with achevé d'imprimer and justification. Original publisher's printed wrappers, designs by Man Ray to covers, titles in white to front cover, titles in red to spine, later paper board slipcase with gilt and argent decoration by hand. Man Ray's dream-inspired drawings illustrated with poems by Paul Eluard. From the edition limited to 675 numbered copies, with this one of 650 on Chester vergé. Though Man Ray had occasionally provided graphic works for book and magazines produced in Surrealist circles ... it was in the 1930s that drawings began to form a significant part of his work. Many of those in LES MAINS LIBRES were later the basis for paintings or reliefs, and a number originated as sketches inspired by dreams made on awakening. The drawings were left by Man Ray with Paul Eluard, who wrote poems for each; the poems thus illustrate the pictures. Man Ray, in his autobiography of 1964, recalled that the drawings had been made when he and Eluard were staying in the Midi at Mougins with Picasso and others. (From Manet to Hockney). [From Manet to Hockney 104].
£2,750
MASSON. Waldberg, Patrick. Une Etoile de Craie. Paris. Galerie Lucie Weill. 1973. Small folio. (336 x 260 mm). [22 bifolia: 44 leaves; pp. 78, (i)]. Half-title with limitation and monochrome vignette verso, leaf with original colour lithograph by Masson as frontispiece verso, printed title with copyright verso, Waldberg's text illustrated with 15 original colour lithographs and 30 monochrome vignettes, final leaf with justification and achevé d'imprimer; the additional suite of signed original lithographs is printed on Japon Nacré. Loose as issued in original publisher's printed wrappers with original lithograph title and decoration by Masson to front cover, suite loose in separate wrapper, publisher's magenta cloth box with white titles to spine (spotting to box). Henri Masson’s Une Etoile de Craie. From the edition limited to 174 copies on Vélin d'Arches signed by the author and artist, with this one of 101 with the additional suite of colour lithographs on Japon Nacré, each signed and numbered in pencil by Masson. [Cramer 97].
£3,000
MATISSE, Henri. Alcaforado, Marianna. Lettres Portugaises. Paris. Tériade Editeur. (1946). 4to. (278 x 214 mm). [32 bifolia; pp. 109, (ii), (v), (i)]. Half-title with justification verso, leaf with original lithograph by Matisse as frontispiece verso, printed title, leaf with 'Au Lecteur' and 'Première Lettre' to 'Cinquième Lettre', 3 leaves with 'Notice' and final leaf with achevé d'imprimer, illustrated with xx original lithographs by Matisse in sanguine or violet including 15 fullpage (frontispiece included), 55 ornaments (including 5 full page and 2 for the covers) and 35 initials printed by Mourlot Frères, Paris. Loose as issued in original publisher's printed wrappers with lithograph title and illustration to front wrapper, illustration to rear wrapper, all by Matisse, chemise with paper label with printed title to spine and slipcase. Matisse's illustrations for Lettres Portugaises. From the edition limited to 270 numbered copies on vélin d'Arches signed by Matisse. These seventeenth century letters appealed to Matisse, who was introduced to them by Pierre Guegen for a proposed publication by Editions Ariel, although Matisse himself offered the project to Tériade. Matisse used the models who had posed for him as inspiration for his lithographs and worked on the project throughout 1945. The letters were published anonymously in Paris in 1669 for the first time. The suavity of Matisse's line is particularly well adapted to the printed page. (The Artist and the Book). [Duthuit / Garnaud 15; The Artist and the Book 199].
£6,500
MIRO. Bonnefoy, Yves, André du Bouchet, & Jacques Dupin. Anti-Platon. La Lumière de la Lame. Saccades. Paris. Maeght. 1962. 3 vols. 4to. (344 x 272 mm). [28 unnumbered leaves; 24 unnumbered leaves; 24 unnumbered leaves]. Each vol. with half-title with copyright verso, printed title, verse by each poet, justification and achevé d'imprimer and illustrated with 24 etchings or etchings with aquatint: each volume has an original etching on the cover printed in colour and 7 etchings (5 coloured) in the text, in different states. Original publisher's printed wrappers with Miro's cover etching for each volume, cloth chemise for each volume, slipcase. Miro's triple illustrated book: three poetic collections each with original etchings. From the edition limited to 125 copies, with this one of 85 on Rives with each volume signed by the author and artist. [Cramer 77].
£15,000
MIRÓ. Char, René. Le Marteau sans Mâitre. Paris. Le Vent d'Arles. 1976. Folio. (452 x 344 mm). pp. 180. Illustrated with 23 etchings with aquatint printed in colour, of which 8 are double-page. Loose as issued in publisher's printed wrappers, housed in original morroco-backed box (Bernard Duval). Joan Miró illustrating René Char. From the edition limited to 170 copies on grand vélin d'Arches pur fil, with this one of 125 signed by the artist and poet. [Cramer 216].
£12,000
MIRO. Jarry, Alfred. Ubu Roi. Paris. Tériade Editeur. 1966. Folio. (430 x 330 mm). pp. (viii), 133, (xv). Illustrated with 13 original colour lithographs by Joan Miró printed by Mourlot. Loose as issued in original publisher's printed wrappers, chemise with gilt title to spine and matching slipcase. Joan Miró's beautiful colour lithographs for Alfred Jarry's Ubu Roi. From the edition limited to 205 numbered copies on vélin d'Arches à la forme, signed on the justification by the artist in pencil. The play 'Ubu Roi' by Alfred Jarry, first performed in 1895, was instrumental in the development of the Théâtre de l'Absurde that was to have such an impact on the Dada and Surrealist movements. Miró chose to create thirteen large, colourful double-page lithographs for his 1966 illustrations of the play, employing imagery that is characteristically biomorphic and humorous, in keeping with themes of the play. The prints, however, are densely colored, drawn, and finished, as well as more formal and painterly than most of Miró's graphic work. (Artists' Books in the Modern Era 1870 - 2000). [Cramer 107; Logan 151; see Miró Lithographe 394 - 430].
£17,500
MORIYAMA DAIDO. Mo Hitotsu No Kuni. (Another Country in New York). Tokyo. Self-published by the artist. 1974. 4to. (312 x 215 mm). [19 unnumbered leaves]. Printed title in Japanese and English with Japanese text verso, 17 leaves with Moriyama's photocopied images recto and verso, final leaf with 'The End' and credit recto and colophon verso. Original publisher's pictorial silkscreen silver wrappers with flaps, stapled as issued, large illustration over front and rear covers in black and purple with title in green to front wrapper. Moriyama's hand-made artist book together with a very scarce unfolded cover variant. From the edition of approximately 100 copies; this copy with an additional unfolded variant (the American flag version - see below) of the cover for the book (318 x 532 mm) signed by Moriyama in pencil verso in Japanese and Western characters. When Daido Moriyama's friend, the designer, Tadanori Yokoo had a show at MoMA, New York in 1971, Moriyama accompanied him for two months. It was his first trip out of Japan, and he produced a masterpiece of improvised book-making from the images he shot there with his half-frame camera. In 1974, Moriyama rented a Tokyo shop and a photocopy machine for 14 days, and produced the copies of this rarest of Japanese photobooks, while each customer waited. At most 100 copies were sold. Moriyama produced three covers for the book (see below), this copy features two of the three silkscreen covers: one based on the colours of the American flag with Moriyama's repeated self-portrait motif and English title in white (this cover is unstapled and unfolded with large margins) and the other cover (stapled as issued for the book) is the more usual image of an aeroplane taking off. We borrowed the copy machine from Canon. When we did this, the quality still wasn't very good; the tone was inconsistent, and parts of the image would get lost. But that degradation was the interesting thing about it. Also, it seemed like the most appropriate treatment for material related to New York. It was the right timing. It was partially intentional and partially play. Rather than doing a photobook, I wanted to do something self-made. At that time, I was also interested in silkscreens. So I printed the cover with silkscreen. All along the walls, we hung up the silk-screened covers to dry. There were three cover versions. One included the American flag, which I think of as a self-portrait in a way, and then the title fit in between the red and blue. This was in part the influence of Andy Warhol in 1967 and '68. With the interior pages the feel I wanted was closer to that of a copy machine. While the silkscreens were drying, I had the customer have a coffee and wait. I asked them to choose which cover they liked, and then I would staple the bundle together and hand it over. That was interesting. It was 1974. (From Photography in Print, An Interview with Daido Moriyama, in Kaneko & Vartanian - Japanese Photobooks of the 1960s and '70s, pg. 29). Another Country in New York is scarce and we can trace no copies at auction or in institutions; two copies of the 2013 facsimile edition are listed by OCLC at Brown and SFMoMA. [Parr & Badger I, 301; Kaneko & Vartanian pp. 28 - 29].
ÂŁ37,500
PASCIN, Jules (Julius Pincas). Heine, Henri. Aus den Memoiren de Herr von Schnabelewopsky. Berlin. Verlag bei Paul Cassirer / Pan-Presse. 1910. 4to. (312 x 242 mm). [52 leaves; pp. 83, (1)].. Leaf with title with lithograph vignette by Pascin recto, justification verso and Heine's text illustrated with 35 lithographs by Pascin, of which 9 are signed in pencil and 6 are coloured by hand (one double page), final leaf with list of the illustrations recto. Original publisher's full vellum, front cover with lithograph by Pascin with additional colouring by hand, title to spine in black, t.e.g. The édition de tête of Pascin's first illustrated book with an original drawing. From the edition limited to 310 copies, with this one of 60 from the édition de tête on Kaiserliches Japan, signed by Pascin pencil to the justification; Pascin has signed 9 of the lithographs in pencil and 6 feature additional colouring by hand. The original drawing by Pascin, on a sheet of smooth laid paper without watermark (196 x 196 mm), is for the second illustration in the book, that on page 10. The drawing, as per the illustration, within a drawn frame is slightly larger than the lithograph version ( the drawn frame is 178 x 178 mm while the printed version is 146 x 146 mm) and, in addition, also features (at upper right) a tiny remarque in watercolour: the head of a mouse peeking out of a hole to observe the events of the drawing. Pascin's first book illustrations. The deceptive simplicity of his drawing, recalling German illustration of a hundred years earlier, gives the plates a mock innocence. (The Artist and the Book). [The Artist and the Book 219].
£7,250
PHILLIPS, Peter. Pneumatics. With text by Christopher Finch. London. Editions Bishofberger. 1968. Oblong elephant folio. 9 leaves. 1 plates and I text leaf. Loose as issued in publisher's box. 8 very large colour Peter Phillips screenprints printed at the Kelpra Studio. Edition limited to 75 copies + 18 artist’s proofs. This is one of 18 Artist’s proofs. Phillips has evolved a highly specialised range of imagery encompassing the automobile, the machine, the scientific diagram, glamour poses. These images seem to be familiar but often turn out to be very unfamiliar in detail; a car radiator, for instance, is likely to be taken from a unique, customised special. The method of presentation, however, exploits familiar ad/mass techniques so that the observer's first reaction is one of recognition. This illusion of recognition evolves the observer with the composition, or - more exactly - with a chain of devices which, when complete, constitutes the composition. (Christopher Finch). £3,500
PICASSO. Parmelin, Hélène. Le Peintre et son Modele. Paris. Éditions Cercle d'Art. 1965. 4to. pp. 193. Illustrated throughout with mounted colour plates. Original publisher's printed cloth with a design by Picasso, original box. One of 150 deluxe copies of Le Peintre et son Modele with a signed etching by Picasso. The oblong print, dated 4/12/63, depicts a painter and his model [Bloch 1139]. A regular edition of the book (24,000 unnumbered copies) was published in both French and English. The writer, Hélène Parmelin, and her husband, the painter Edouard Pignon, both militant communists, had met Picasso after the war. In 1952 Picasso invited the couple to come to Vallauris and live in a part of the old perfume factory where he did his pottery work. Hélène Parmelin published her first essay on Picasso in 1959 (Picasso sur la Place, Editions Julliard). In 1964, 1965 and 1966, Charles Feld (Cercle d'Art) published Secrets d'alcôve d'un atelier, a series of 3 books of which this is the second. [Cramer 130]. £7,500
PICASSO. Toesca, M. Six Contes Fantastiques. Illustrés de Six Burins par Picasso. Paris. Flammarion. 1953. 4to. pp. 83. Illustrated with six original engravings with burin by Picasso, as well as six initial letters or 'lettrines' by Pierre Bouchet. Loose as issued in original publisher's printed wrappers, original chemise and slipcase. Picasso’s magnificent Six Contes Fantastiques. From the edition limited to 225 copies, with this one of 100 on vergé d'Arches; this nominatif copy printed for Pierre-Jean Mathan. The ornamental initials at the beginning of each tale are wood-engravings by Pierre Bouchet ... Although Picasso's engravings for 'Six Contes' were executed in 1944, the book was not published until 1953. (Patrick Cramer). [Cramer 66].
£6,500
SUGAI. Lambert, Jean-Clarence. Alea. Alès. P[ierre]. A[ndré]. B[enoit]. 1962. Folio. pp. 40. Illustrated with 7 lithographs by Sugaï. Loose as issued in publisher's box. A striking book containing lithographs by the master Japanese printmaker, Sugaï. Edition limited to 50 copies, signed by the author, artist and the publisher.
£2,000
WYNDHAM LEWIS. Thirty Personalities and a Self-Portrait. London. Desmond Harmsworth. 1932. Folio. (388 x 288 mm). [34 leaves: 3 leaves with title and text + 31 leaves of plates; pp. 5]. Leaf with title recto and justification verso, two leaves with Wyndham Lewis' introductory text and thirty-one monochrome reproductions after Wyndham Lewis' original sketches, each with tissue guard-leaf with subjects' printed name. Loose as issued in original publisher's canvas-backed glossy board portfolio with ties, white label with printed title to front cover. An excellent copy of Wyndham Lewis' collection of portraits of his contemporaries. From the edition limited to 200 copies, signed and numbered by Wyndham Lewis in turquoise ink. Wyndham Lewis's subjects include - in his own words - the hollow hatchet of the face of James Joyce, the fine ascetic head of Anthony Asquith, the handsome head of a thwarted Renaissance princeling Desmond Harmsworth, the joyous solemnity of the mask of the show-King C. B. Cochran, the post-gothic fullness of the brilliant sophist and catholic G. K. Chesterton, the mongoloid woodenness of the excellent mime and wit Noel Coward, the astonishingly alive Edith Evans, the lionesque splendours of the august countenance of Augustus John, the face destined to musical composition, and the splendours and miseries of conductorship Constant Lambert and the tight and solid aggressiveness of the Yorkshireman, the best-selling J. B. Priestley; the final plate is the own poor face, the Self-Portrait of Wyndham Lewis of the title. This is a collection of thirty miscellaneous heads. I have been an unsystematic, if not a casual, head-hunter - an examination of my thirty heads will reveal no especial selective design, except that every unit of this big bag of thirty is in some way remarkable, I think, and worthy of a place in the home of even the most particular head-hunter. (From Wyndham Lewis' text Thirty Personalities). [Morrow & Fourcade A 19].
ÂŁ2,250
TATE. Tate Modern: Ten Artists, Ten Images. 1995 - 2000. London. Tate Gallery. 1999. Large folio. (840 x 560 mm). Eight chromogenic prints and one silver gelatin print (various sizes), each printed recto only on single sheets and signed and numbered verso; one further photographic transparency on acrylic; additional title page, contents page, and instruction page for displaying the photographic transparency. Loose in original publisher’s grey cloth drop-back box. Portfolio of specially commissioned photographs published by the Tate Gallery, London. From the edition limited to 50 copies, 5 artist proofs were also published. To celebrate the opening of Tate Modern in 2000, ten contemporary artist photographers were invited to make an image inspired by the Bankside building and its surroundings. The resulting work includes architectural details, images of workers, and other more subtle allusions to the process of regeneration surrounding Tate, such as in Jeff Wall’s A Sapling Held by a Post (2000) (see illustration). The artists involved include Uta Barth, Sam Taylor-Johnson OBE, Rineke Dijkstra, Hannah Collins, Richard Billingham, Jeff Wall, Catherine Yass, Thomas Struth, Thomas Ruff and Craigie Horsfield. All artists used chromogenic images, apart from Horsfield (who used silver gelatin print) and Catherine Yass, who presents a photographic transparency for framing into a lightbox. The lightbox itself was not issued with the portfolio. Copies are scarce on the market and elsewhere.
£10,000
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