R.B. Kitaj: Lot Of Artist, Exhibit And Gallery Catalogs And Ephemera -

First Edition. Softcover. Near Fine. R.B. Kitaj. This lot comprises a treasure-trove of materials relevant to the life, family, loves and works of American artist R.B. Kitaj, who had Jewish roots and expatriated to the U.K. There are multiple copies of some items, as noted. 1) Four copies, Marlborough-Gerson Gallery Inc, R.B. Kitaj February 1964 (New York: Marlborough-Gerson Gallery, Inc., n.d.), Fine square softcover measuring 9 inches x 8¼ inches, Catalogue No. 147; unpaginated but 28 pp. in sharp and distinct sepia-tone, staple-bound, with brightly laminated pictorial cover. Errata slip; 2) Two copies, Michael S. Cullen, R B Kitaj: complete graphics 1963-1969 (Berlin: Galerie Mikro,1969). Fine softcover in First Edition state, square, staple-bound, measuring 8 inches x 8 ¾ inches, in illustrated gate-fold wraps. Several score full-color and black-and-white photographic plates. Introduction and Preface by Werner Haftmann; 3) Seven copies, Cincinnati Art Museum, Dine Kitaj (Cincinnati, Ohio: Cincinnati Art Museum, 1973), a Fine condition broadside, folded twice, and measuring 8” x 6” when folded, in invitation, with white, salmon, and pumpkin-colored lettering. Both Dine and Kitaj from Ohio; 4) Two copies, Cincinnati Art Museum, Jim Dine, R. B. Kitaj, Dine Kitaj: A Two Man Exhibition at the Cincinnati Art Museum April 12 through May 13, 1973 (Cincinnati: Cincinnati Art Museum, 1973), First Edition, 10" x 9", 40 pp., reprinted photographs in black and white and color, some full-page. ommentaries by Dine and Kitaj; 5) (six copies, one signed), R. B. Kitaj et al., R. B. Kitaj (Berkeley: University of California Press, 1967). 9" x 7", 14 pp., First Edition, but not stated. Signed by Kitaj in blue ink pen and reads, “For John, from R. B. Kitaj.” Few small damp-stains on the front cover to signed copy, else four copies fine of an R. B. Kitaj exhibition held at the Worth Ryder Gallery, U.C. Berkeley between October 7 and November 12, 1967, with quotes by Kitaj, poet Robert Duncan, and artist Marsden Hartley; 6) R.B. Kitaj and the Marlborough Fine Art, Limited, R.B. Kitaj: Pictures from an Exhibition Held at the Kestner-Gesellschaft, Hannover and the Boymans Museum, Rotterdam 1970, April - May 1970 (London: Marlborough Fine Art, Limited, 1970). 11 ½ inches x 8 ¼ inches. Unpaginated,but roughly 50 pp. First Edition but not stated. Pages and covers are virtually pristine and intact. Binding is tight. A Fine copy. Title page lists the address and contact information of the Marlborough Gallery in London as well as the addresses and contact information of associated Marlborough Galleries in New York and Rome. An exhibition catalog that accompanied two shows featuring artwork by R.B. Kitaj, which were held from April-May 1970 at the Kestner-Gesellschaft in Hannover, Germany and the Boymans Museum (Museum Boijmans Van Beuningen) in the Netherlands. The final two pages list countries that have purchased artwork from the Marlborough Galleries, artists represented by Marlborough Galleries, and past exhibitions organized by Marlborough Fine Art, Ltd. Replete with reprinted photographs of artworks from the two exhibitions with brief captions about the specifications. Most of the photographs are in black and white; some are in color; 7) Eight copies, R. B. Kitaj et al., Kitaj: Tekeningen en serigrafieen (Amsterdam: Stedelijk Museum Amsterdam, Prentenkabinet, 1967), 10 ¾ inches x 7 ¼ inches, 8 pp., First Edition, clean and intact, Fine copies, brief exhibition catalog featuring the work of R. B. Kitaj, May 11 to and June 18, 1967, two-page biography of Kitaj by John Russel in Dutch; 8) Four copies, Marlborough Gallery, Sandra (Two) (New York: Marlborough Gallery, 1996), a Fine condition exhibition catalog in First Edition state, 11 ½” x 10” in glossy pictorial covers, highlighting the works of R.B. Kitaj, but dedicated to his wife Sandra Fisher-Kitaj, American painter(1947-1994) and whose fine black-and-white photographic visage graces the front cover. 25 pp., and featuring a score of fine black-and-white and duotone images, including watercolors, line drawings, etchings and photographs; 9) R.B. Kitaj, Second Diasporist Manifesto: (a new kind of long poem in 615 free verses) (New Haven, Connecticut: Yale University Press, 2007), nearly As New condition hardcover copy with pictorial covers, sans dust jacket, as issued, with his wife Sandra Fisher-Kitaj’s lovely face gracing the frontis, opposite title page, unpaginated, but roughly 80 pp., and replete with duotone, tritone and black-and-white illustrations and photographs; 615 deeply personal lines of verse; 10) The Arion Press, "Prospectus for a deluxe illustrated edition of The Waste Land, the long poem by T.S. Eliot" (San Francisco: the Arion Press, 2007), with an essay on the poem by Helen Vendler, and an essay on the painting by Marco Livingstone. Fine condition, 5 pp., and laid in is a sharp and lovely full-color postcard-like likeness of the painting, If Not, Not, by R.B. Kitaj. Printed wraps, Near Fine condition. The book was to be 12.5” x 12”, 68 pp., and the 79th publication of the Arion Press, limited to 300 numbered copies for sale and 26 lettered copies for complimentary distribution, a steal at $600. This was to be the first illustrated edition of “The Waste Land.”; 11) Three copies, R.B. Kitaj, “Kitaj’s List,” The Jewish Quarterly Review, Volume 94 (1), Winter 2004, 6-7 pp. Fine condition off-prints of a two-page apologia for the author’s stated favorite dozen Jewish artists; 12) Marlborough Gallery, R.B. Kitaj, “How to Reach 72 in a Jewish Art” (New York: Marlborough Art Gallery, 2005), a 7” x 4” post-card announcing this new exhibit of Kitaj’s work to be shown on Tuesday, March 1, 2005. Fine condition, colorful; 13) Julian Rios, Kitaj: pictures and conversations (London: Moyer Bell, 1997), a Fine condition softcover cover in stated First Edition state, and with lovely gate-fold wraps, bright, shiny, illustrated, and price-clipped, over a raspberry-colored, illustrated wraps, ix + 276 pp., and with a full index and bibliography; Hundreds of black-and-white and full-color illustrations augment the text, facsimile reproductions of communications; 14) Marlborough Gallery, R.B. Kitaj: How to Reach 72 in a Jewish Art, including the Second Diasporist Manifesto, Marking 45 Years with Marlborough. March 1 - April 2, 2005 (New York: Marlborough Gallery, 2005). Fine condition gallery exhibition catalog. As New condition softcover copy in tall quarto format, bound in publisher's pictorial card wrappers, illustrated with gorgeous colors. 88 pp., and replete with full-color, even full-page illustrations; 15) Three copies, Anthony Rudolf and Colin Wiggins, Kitaj in the Aura of Cezanne and other Masters (London: National Gallery of London, 2001). Fine condition softcover copy in short square octavo format. Clean, tightly bound copy, an exhibit catalog for 7 November 2001-10 February 2002. Replete with black-and-white and full-color reproductions of Kitaj’s paintings and drawings inspired by Cezanne's work. 66 pp., and then another ~20 pp. of full-color plates; 16) Three copies, Kunstler Kritisches Lexikon der Gegenwartskunst, R.B. Kitaj (Munchen, Germany: Weltkunst and Bruckmann, 1989), a Near Fine condition, slightly sunned along edges copy in quarto size, staple-bound, with bright and colorful reproductions of Kitaj’s work on glossy paper. 15 pp. and featuring illustrated, pictorial covers front and rear that highlight his best works from the 1970s and 1980s. German language text; 17) Marlborough Fine Art Gallery, R.B. Kitaj: pictures bilder (London: Marlborough Fine Art Gallery, 1977), Catalog #358 from Marlborough Fine Art Gallery, a major sponsor of Kitaj for a number of years, a Fine quarto format softcover copy, and with Robert Creeley providing an Introduction. Bilingual text, in German and English, featuring the works of Kitaj that were exhibited from June to July, 1977. 44 pp., 60 fine black-and-white and full-color reproductions on glossy paper of Kitaj’s finest works from the 1960s to the 1970s. 18) Two copies, Marlborough Graphics, “R.B. Kitaj: selected prints, including the portfolio In Our Time” (New York: Marlborough Graphics, 2005), a Fine condition oversized postcard inviting people to attend the opening of the exhibition. Bright, sharp, colorful, clean and unmarked; 21) Lee Friedlander, Kitaj (San Francisco: Fraenkel Gallery, 2002), Fine, First Edition, square octavo format, featuring bright and colorful pictorial covers, 115 pp. of notes, interviews, captioned photographs of Kitaj and his friends and sponsors, his finest drawings, paintings and photographs, again, all captioned; 20) Roger de Grey, The Reynolds Lecture 1986: Route Verte to Twentieth-Century Painting (London: The Antique Collector, 1986), Fine hardcover copy bound handsomely in forest-green textured leatherette, with sharp and distinct gilt lettering to cover. Bright green endpapers, 23 pp., and with marginalia referring to the Lecture as it was unfolding, delivered by Roger de Grey on February 6th 1986 at the Royal Academy of Arts. SIGNED by the author, “for Kitaj, from Roger de Grey,” being tissue-protected; 21) Art International, incorporating the New Lugano Review, Volume XXII/10, March 1979, ed. by James Fitzsimmons, with a full-on article by Michael Podro, "Some Notes on Ron Kitaj," and then lots of smaller captioned text-boxes and shorter pieces, and with a large number of reproductions of his work in full, glorious color.Member, I.O.B.A., C.B.A., and adherent to the highest ethical standards. Additional postage may be required for oversize or especially heavy volumes, and for sets.