MODERN ART - Ars Libri

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ars libri �
1955: Sammlung Marzona (Sprengel Museum Hannover,
1994), p. 168; Centre Pompidou: Kurt Schwitters (Paris,
1994), p. 79 (illus.); cf. Elderfield p. 112; Ades 6.26
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SCHWITTERS, KURT
Die Kathedrale. 8 Lithos von Kurt Schwitters. (Die Silbergäule.
Band 41/42.) 8 original lithographs (including that
on front cover), printed in black on cream-colored stock;
(2)pp. advts. Sm. 4to. Orig. brown wraps., lettered and illustrated
in black by Schwitters. “The booklet ‘Die Kathedrale’
with eight lithographs by Schwitters was published in Paul
Stegemann’s ‘Silbergäule’ 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 honor in
the history of modern graphics” (Schmalenbach). This copy
without the white label designed by Schwitters to close the
volume, often lacking; expert conservation to the wrappers,
discreet collector’s mark inside cover; a handsome copy, the
lithographs in fine condition.
Hannover (Paul Stegemann), 1920. $8,500.00
Schmalenbach/Bolliger 251, p. 80; Dada Global 124; Ades
6.33; Almanacco Dada illus. p. 206; Motherwell/Karpel 371;
Dada Artifacts 63; Verkauf 182; The Artist and the Book 278;
Andel 79; Castleman p. 158 (illus. 104-105); Manet to Hockney
52, color plate 7; Johnson, Robert Flynn: Artists’ Books in
the Modern Era, no. 32; Splendid Pages p. 201; Raabe 273.2
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SMITH, TONY
Maquettes for sculpture, from the collection of E.C. Goossen
and Patricia Johanson. A collection of ten maquettes for
sculpture by Tony Smith, gifts of the artist to E.C. Goossen
and Patricia Johanson, together with the original black box
that served as Smith’s inspiration for his seminal sculpture
“Black Box.”
The core of this collection is an important series of seven
maquettes for sculpture by Tony Smith. Handmade by him in
tetrahedral modules of cardboard, spray-painted black, the
maquettes are small-scale sketches for sculptures in the
“For” series of 1969, of which monumental versions were
realized in patinated bronze. An almost identical set of
maquettes was lent by the Smith estate to the Tony Smith
exhibition at the Museum of Modern Art in 1998.
Together with this series are three other maquettes. First,
one of comparable dimensions but in yellow-painted cardboard,
for the sculpture “Cardbird.” Second, a much larger
maquette (37 inches, at its widest extension), for the monumental
“Stinger,” of which a full-scale wooden mock-up,
painted black, owned by Goossen and Johanson, was
exhibited in Goossen’s exhibition “The Art of the Real” at the
Museum of Modern Art, and at the Grand Palais in Paris.
And last, a complex large model in foamcore, as yet undocumented,
which Patricia Johanson believes to have been
given to Goossen by the artist.
The black box that accompanies the maquettes is an object
of truly mythic significance in the history of modern sculpture.
A simple wooden card-file, painted black, that belonged
to Goossen, it transfixed Smith during one of their late-night
conversations, and became the literal model for the great
breakthrough in his sculptural work.
The ensemble is available en bloc only, as a collection. Further
details and price on application.
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