Search Results: Authors starting with M from Sims Reed Rare Books

(Paris)., (1973).. Original publisher's printed wrappers stapled as issued with titles in black to front cover.. Small 8vo. (200 x 140 mm).. Front wrapper with title, justification with Thirion's signature verso and Thirion's text with an original signed etching by Henri Maccheroni loosely inserted as frontispiece; sheet size for Maccheoni's etching: 210 x 138 mm. An excellent copy of André Thirion's polemic pamphlet responding to Georges Hugnet's critical review of Thirion's own memoir 'Révolutionnaires sans Révolution'.From the edition limited to 60 numbered copies on papier vélin chiffon signed by Thirion in pencil and with the original etching signed and numbered in pencil by Henri Maccheroni.This pamphlet was issued by André Thirion in response to Hugnet's review of his old friend Thirion's memoir 'Révolutionnaire sans Révolution'. Hugnet published 'A Propos de Révolutionnaires sans Révolution', in his edition of collected essays and journalism 'Pleins et Déliés' in 1972. Hugnet… Read More

Milan.: Galleria dell'Ariete., 1968.. Original publisher's stapled wrappers.. 8vo. (153 x 212 mm).. Monochrome photographs. Published to accompany the exhibition of ZERO artist Heinz Mack at Gallerie d'Ariete (Milan) beginning 20 March 1968.

Paris.: Flammarion., 1946.. Loose as issued in publisher's boards and slipcase.. 4to.. 26 original woodcuts in the text. Edition limited to 305 copies, of which this is one of 200 on Lana paper.

Paris.: Flammarion., 1946.. Loose as issued in publisher's boards and slipcase.. 4to.. 26 original woodcuts in the text. Edition limited to 305 copies, of which this is one of 200 on Lana paper.

Moscow.: Gosudarstvennaia Tret'iakovskaia Gallereia., 1929.. Original publisher's printed wrappers stapled as issued, titles to front cover in black, publisher's vignette and credits to rear cover.. Small 8vo. (176 x 130 mm).. Publication details to inner front wrapper, leaf with monochrome reproduction of Malevich's Na Senokose' (Haymaking) as frontispiece verso and three leaves with Fedorov-Davydov's text recto and verso. An excellent copy of the catalogue for the exhibition at the Tretyakov Gallery intended to rehabilitate Malevich.From the edition limited to 1,000 copies.Malevich's 1929 exhibition at the Tretyakov Gallery (the foremost museum for Russian art in Moscow at the time) was an attempt, after his Suprematist work had been banned from exhibition in 1926, to reposition the artist as an adherent to peasant-inclined orthodoxy. To that end, the director of the modern department at the gallery, Aleksei Fedorov-Davydov, included an image of Malevich's 'Na Senokose' (Haymaking) alongside… Read More

Paris.: Editions de la Nouvelle Revue Française., 1914.. Original publisher's japon wrappers with printed titles in red and black to front cover and publisher's vignette in black to rear. . Folio. (330 x 257 mm).. Blank leaf, printed title, leaf with Mallarmé's 'Préface' and note by the editor verso, blank leaf, leaf with title 'UN COUP DE DES' and Mallarmé's verse recto and verso in his preferred typographic layout on 10 leaves, final leaf with justification and achevé d'imprimer; leaves uncut retaining deckle edges throughout. A large paper copy, completely unsophisticated, of the first edition of Stéphane Mallarmé's revolutionary innovative typographic caprice.From the edition limited to 100 numbered large paper copies, with this one of 90 on vélin d'Arches; 10 hors commerce copies - also large paper - on papier pur chanvre des papeteries de Monval were also issued as well as an unnumbered edition of 900 copies in smaller format on vergé.In 1914, Stéphane Mallarmé’s ambitious… Read More

Brussels.: Galerie MTL., 1971.. Publisher's wrappers. A fine copy.. 8vo. (135 x 108 mm).. Martin Maloney (1938-2003) has been largely forgotten and omitted from art history; the American artist is all but invisible in institutional collections of the conceptual art he participated in from an early stage.For him, the gallery’s symbolic ‘white walls’ needed to be fought, resisted and shown for what they were. In 1971, he locked himself in the confines of the MTL gallery in Brussels for five days and nights. His solitary act and refusal to allow the gallery space its role in visual presentation was the ‘exhibition’. This small publication features the texts he wrote during his stay in the gallery and remains the only material trace.

Roma.: Galleria Appia Antica., 1959, aprile.. Original publisher's pale blue printed wrappers with flaps, stapled as issued, with titles and exhibition details in red to front cover.. 12mo. (124 x 98 mm).. Leaf with title and exhibition details, two leaves with introductory text by Leo Paolazzi followed by three folding leaves, each with credit and details on folded section of leaf and monochrome reproduction on unfolded section, each showing one painting by Manzoni, Bonalumi and Castellani; unfolded leaves: 124 x 184 mm. A very scarce, early exhibition catalogue for the group show by Piero Manzoni and his close artistic allies Agostino Bonalumi and Enrico Castellani.The exhibition at Galleria Appia Antica took place from the 3 - 15 April 1959 and was the second group show of the trio (the first was at Galleria del Prisma in Milan in February) in 1959. The text is by Leo Paolazzi, a poet and friend of Manzoni, who later used the pseudonym Antonio Porta. Manzoni's contribution to the catalogue is… Read More

Milan.: Azimut., 1959.. Original publisher's printed pictorial wrappers stapled as issued, front cover in red with 'MANZONI' in white over an image of his 'Linee' containers, matching image to rear cover with exhibition details and measurements in black.. Small 4to. (240 x 170 mm).. Printed text by Vincenzo Agnetti 'Piero Manzoni: Les Lignes' in French to front cover verso, leaf with English version of the same text 'Piero Manzoni: The Lines' to following recto, verso and following leaf with Agnetti's text in Italian 'Piero Manzoni: Le Linee' as a spread printed in red with drawing after Manzoni above, verso and following leaf with Manzoni's biography in Italian (with illustration of Manzoni's face above one of his lines in black), French and English. An excellent copy of Piero Manzoni's very rare '12 Linee' catalogue for his exhibition at Azimut in Milan in 1959.'12 Linee' was held at Azimut in Milan's via Clerici from December 4th to December 24th, 1959. Manzoni had begun to execute his 'Linee'… Read More

Pisa.: Nicolas Capurro, Lung'Arno., 1828.. Full contemporary vellum, gilt decoration and titles to spines.. 3 vols. 12mo. (198 x 122 mm).. Printed title to each vol., vol. I with leaf with dedication 'To the Chevalier Louis Chiaveri', 'Preface' by the translator, introduction by Manzoni dated 'Milano, 25 Gennajo, 1828', leaf with 'Advertisement' and Manzoni's text in 34 chapters (XI in vol. I, XII. in vol. II and XI in vol. III), final leaf of vol. I with advertisements, final leaf of final vol. with errata verso. [PROVENANCE: Engraved bookplate of [Austen] Henry Layard to front pastedown with 'Perseverando' above his arms containing the motto 'Juvante Deo'; engraved bookplate of bibliophile Robert J. Hayhurst to front free endpaper with his note attributing authorship of the translation]. The very rare first edition in English of Alessandro Manzoni's masterpiece of Italian literature 'I Promessi Sposi'.'Il più celebre romanzo della letterattura Italiano.' (Fabrizio Govi).Alessandro Manzoni's… Read More

Rome.: Galleria La Tartaruga., 1961.. Single sheet. (305 x 340 mm).. Printed text in black and red with graphic markings in black at right recto only on blue paper; the sheet has an old central fold, some toning to sheet edges and some wear at the foot. The original poster / announcement for the joint Manzoni / Castellani exhibition at Galleria La Tartuga in Rome, 1961.Opening on April 22nd, 1961, this joint exhibition with Enrico Castellani (the pair often exhibited together) saw Manzoni signing gallery visitors and models hired specifically for the purpose and issuing them with certificates. Manzoni thereby designated the people 'Sculture Vivendi' and assimilated them into his oeuvre. He also distributed his 'Carte d’Autenticità', a certificate that could be purchased that proved an individual a work or a part of a work depending on the price paid. We have been unable to determine the works exhibited by Castellani.

Munchen-Weimar.: Bauhaus-Verlag., 1923.. Loose as issued in publisher's vellum-backed patterned paper board portfolio with printed titles to front cover in black.. Small folio. (356 x 295 mm).. Bifolium with printed title, list of plates and verse and 10 original woodcuts by Gerhard Marcks, each mounted to a larger sheet of card as issued and initialled and dated in pencil; the colophon is pasted to the interior of the portfolio. Gerhard Marcks' scarce Nordic-inspired Bauhaus portfolio.From the edition limited to 110 numbered copies, with each print initialled, dated and numbered by Marcks in pencil..It wasn't until after World War I that Marcks' initial interest in classicism gave way to the influence of Expressionism and of the Sturm artists, as part of a search for a new spirituality. Maintaining this sense of spirituality in his work, Marcks was to establish, in 1919, under the guidance of Walter Gropius, the Bauhaus ceramics workshop in the village of Dornburg near Weimar. With his students… Read More

Paris.: Les Editions des Cahiers Libres. , 1933. 30 janvier 1933. . Original publisher's printed wrappers with titles to front cover and spine in black.. 8vo. (192 x 148 mm).. Half-title with 'Du Même Auteur' verso, leaf with original monochrome etching by Louis Marcoussis verso as frontispiece, printed title with copyright verso, leaf with dedication, Hugnet's verse and final leaf with justification. An excellent copy of the édition de tête limited to 10 copies, in the original wrappers, and with Marcoussis' original frontispiece.From the edition limited to 510 numbered copies, with this one of 10 from the édition de tête on Japon Ancien signed in black ink by Georges Hugnet and with the original etching as frontispiece by Louis Marcoussis.Hugnet’s presentation is in black ink: 'A mon père, / Seigneur des Folies St. Antoine, / en souhaitant que les semaines / aient quatre jeudis, avec toute l'affection / de / La Belle en dormant [printed half-title] / et de Georget, / 1933'.Together… Read More

(Exeter?)., (1967).. Original illustrated wrappers (a spread from a magazine showing Brigitte Bardot) by Marcel Mariën, titled in red ink to front cover.. 4to. (272 x 211 mm).. Drop-head title and typescript text throughout recto only. The English translation of a screenplay by Marcel Mariën, a typescript version in a handmade wrapper by Marien.This typescript English translation of a screenplay by Marcel Mariën was translated by Sarah Bowen. The play was first performed in Brussels in November 1953. This typescript version may be unique and the cover which features Brigitte Bardot lying across both covers is certainly so.This typescript was presumably executed for John Lyle for a performance at the Exeter Surrealist Exhibition. A version of the same translated text with additional photographs by Mariën was published without date in the late 1960s.

Sidmouth.: Transformaction., (1973).. Original publisher's printed wrappers with colour reproduction and titles in red and black to front cover, vignette and text to rear cover.. Large 8vo. (240 x 169 mm).. Illustrated throughout in colour and monochrome. The translator's édition de tête copy with a presentation from Marcel Mariën.From the edition limited to 1,000 copies, with this one of 15 from the édition de tête on Hollande van Gelder Zonen signed and numbered by Mariën and with an original signed work by Mariën; Mariën's original work, a collage on glossy paper, is signed and inscribed 'Whistler's daughter' in black ink and dated in red ink '20 5 73'.Mariën's presentation is in black ink on the half-title: 'pour John Lyle, / préfacier, traducteur / et ami, / Marcel Mariën / 9 novembre 1973'.Also included, loosely inserted, is the original announcement for the publication, a folded sheet of green paper with details of the edition.

Bruxelles.: Les Lèvres Nues., 1980.. Original publisher's orange printed wrappers with titles in black to front cover.. 8vo. (230 x 144 mm).. From the edition limited to 200 copies, this with a presentation in black ink to the half-title: 'amicalement à / John Lyle / BRUXELLES ET GOMORRHE [printed] / ce film à tourner à Sidmouth / après reconstitution de Bruxelles / sur place, / Marcel Mariën'.

Bruxelles.: Editions Les Lèvres Nues., 1960.. Folded newsprint (310 x 230 mm).. Illustrated in monochrome. The scarce special edition of Marcel Marien's revue 'Les Levres Nues'.The present 'numéro hors série' of Les Levres Nues contains texts by Marien, Souris and Treblich and stills from Marien's 1959 film of the same title 'L'imitation du cinema'.

Milan.: Edizioni Futuriste di 'Poesia'., 1912.. Original publisher's red printed wrappers.. 8vo. (202 x 144 mm).. First edition of the second collective anthology of Futurist poetry.Featuring Libero Altomare, Paolo Buzzi, Giuseppe Carrieri, Enrico Cavacchioli, Auro D’Alba, Luciano Folgore, Corrado Govoni, F.T.Marinetti, Armando Mazza and Aldo Palazzeschi. The second collective anthology of the Futurist movement after the 1909 'Enquête internationale sur les vers libre et manifeste du futurisme par F. T. Marinetti'.

Milan., 1922.. Single sheet, folded. . With some areas of loss. Second French edition of Marinetti's Futurist manifesto, originally published 11 May 1916.

Paris.: E. Sansot., 1908.. Original publisher's printed wrappers with titles and publisher's vignette to front cover and spine in red and black, advertisements to rear cover.. 8vo.. Marinetti's swansong as a traditional poet. By the appearance of his next book of poems in 1910, Marinetti had penned his first Futurist manifesto. Already the images of a racing car and the modern industrial city occur in this book.Front wrapper with 'Première Edition', title with 'Huitième Edition'.