Avant Garde Magazine

Trip: A Portfolio of Serigrapic Color Prints by Bert Stern, Edited by Ralph Ginzburg, Art Director is Herb Lubalin, Illustrated in B/W,TINY light edge stain on few pgs near front. Articles or about Picasso, Walter Bowart, Mild Mannered Editor by Tom Hyman: Avant Garde March 1968 Marilyn Monroe "Last Sitting" Serigraphs by Bert Stern, Marilyn Monroe on Cover in Gold & White with Diamond Bracelet in Her Mouth, March 1968, MAGAZINE, MM Trip a Portfolio of Color Serigr, Avant-Garde Media, Inc., New York PUBL . avant Garde 1968 ; weicher Einband / soft cover; 1. Ed.
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Oversized MAGAZINE By Bert Stern ,March 1968, 1st Edition, Psychidelic color photos, VG/VGOOD, AS-IS, SOFTCOVER, Bottom Cvr edges light Small wear rub, 10 3/4 X 11 1/4 inch. Titled in Turquoise Blue front Cvr right corner, Interior Nice tight clean lightwear FOX water stains to some pages thruout, However Monroe prints are Not Damaged, Subcription Order Form in Back is Intact, Large Softcover . LIGHT scuff marks cover , , TINY light edge stain on few pgs near front. Articles or about Picasso, Walter Bowart, Mild Mannered Editor by Tom Hyman, Passion of Norman F. Dacey by Dacey , Orphan of the Flood by Mitchell Wojtycki,Visitor by Roald Dahl, ETC, CONTENTS: The Marilyn Portfolio (12 images); Walter Bowart: Mild-Mannered Editor (of the East Village Other, by Hyman); Prof. Einstein , Includes MM Trip a Portfolio of Color Serigraphic Prints by Bert Stern, includes Walter Bowart, Mild Mannered Editor by Tom Hyman, Orphan of the Flood by Mitchell Wojtycki, NO More War, Peace Movement by Gary Youree, Picasso the Artist as an eternally young man by Fitzherbert, Visitor by Roald Dahl ETC, Marvelous work by Stern. Also includes arti 1st Edition No Jacket Soft Cover; 1st Edition

[SW: Avant Garde MAGAZINE Marilyn Monroe Serigraphic Prints Bert Stern Ralph Ginzburg Picasso the Artist Psychedelic]

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Stieglitz, Alfred: 291. Number 1-12. 1915-1916. 1972. Cloth.

New York: Arno Press. 1972. (First edition thus). Large slim elephant folio. White lettered burgundy cloth. Cloth has a trace of scuffing and a trace of soiling else a fine copy of this Arno Press facsimile bound edition of the complete run of photographer Alfred Stieglitz' landmark publication "291". From Wikipedia: "The arts and literary magazine 291 was published from 1915-1916 in New York City. It was created and published by a group of four individuals:photographer/modern art promoter Alfred Stieglitz, artist Marius de Zayas, art collector/socialite/poet Agnes Ernest Meyer and photographer/critic/arts patron Paul Haviland. Initially intended as a way to bring attention to Stieglitz's gallery of the same name (291), it soon became a work of art in itself. The magazine published original art work, essays, poems and commentaries by Francis Picabia, John Marin, Max Jacob, Georges Ribemont-Dessaignes, de Zayas, Stieglitz and other avant-garde artists and writers of the time, and it is credited with being the publication that introduced visual poetry to the United States. Alfred Stieglitz was one of the most active arts promoters in the world in the early 1910s. He was already famous for his own photography, he published the well-known magazine Camera Work and he ran the progressive art gallery 291 in New York. After the Armory Show in 1913, a trio of artists and supporters (de Zayas, Meyer and Haviland) gathered around Stieglitz at his gallery, encouraged by his recent interest in promoting other art forms in addition to photography. In January 1915 they proposed the idea of starting a new magazine that would showcase the most avant-garde art of Europe and the U.S., and at the same time bring attention to Stieglitz's gallery. They named the new magazine after the gallery, and with Stieglitz's blessing the four of them began working on the first issue. Compared with his other publications, Stieglitz was fairly detached from the project. He later said, "I was more or less an onlooker, a conscious one, wishing to see what they would do so far as policy was concerned if left to themselves". Nonetheless, Stieglitz was not one to sit idly aside while something went on around him. He helped set the tone and direction of the magazine, beginning with its design and production. Wanting to live up to the high standards set in Camera Work, Stieglitz and his colleagues decided to publish two editions of the magazine: a standard subscription printed on heavy white paper and a deluxe edition, limited to 100 copies, printed on Japanese vellum. Both were published in a large folio format (20" x 12"/50.8 cm x 30.5 cm). Each issue contained just four to six pages, sometimes hinged together to provide a fold-out spread, and there were no advertisements. Due to its size and cutting edge presentation, it had the look and feel of a work of art itself, not a magazine about art. It has been called a "proto-Dadaist statement"[3] in part because much of the content was in the form of visual poetry, a literary and design format attributed to Picabia's friend the French surrealist Guillaume Apollinaire. The design and layout was inspired by the second series of the magazine Les Soirees de Paris, edited in France by Apollinaire, and it was de Zayas who brought the concepts from the French magazine and put them into place in the new magazine. Because of these influences art historian William Innes Homer has said "In design and content, there was no periodical in America more advanced than 291. A regular subscription initially cost ten cents per issue or one dollar a year; the deluxe edition cost five times as much. Little attempt was made to attract subscribers, and no more than one hundred signed up for the regular edition. There were only eight known subscribers to the deluxe edition. Stieglitz had 500 extra copies printed of Issue No. 7-8, which featured his photograph The Steerage. Because it had recently been published for the first time and attracted very positive comments, he anticipated a huge demand for the image. The demand did not materialize, and none of the additional copies was sold. Only twelve numbers of 291 were published, but three of them were double numbers so just nine actual issues were printed. It never attracted a wide audience, and the high costs of production became too much to sustain. Stieglitz had hundreds of unsold copies at his gallery when he closed it in 1917; he sold all of them to a rag picker for $5.80. All issues are highly valued now, and a complete set of the original issues is very rare. One of the complete sets is in the collection of the U.S. Library of Congress in Washington, D.C. (LC Control No 00204566). A bound reprint edition (the present volume) was published by the Arno Press in 1972 (ISSN 1054-7193) and may be found in large university and public libraries". The "Arno Series of Contemporary Art". Introduction by Dorothy Norman. An incredible book and rare in it's own right.

[SW: Photography]

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ZERVOS, Christian (1889-1970, editor) - Picasso, Matisse, Miro, Leger, and others. Cahiers d'Art,

Paris: Editions Cahiers d'Art, 1926-1960. 35 'annees', most in parts, bound into 30 volumes, quarto. (12 x 9 1/4 inches approx.). Numerous plates (some mounted, coloured, original pochoirs or lithographs) after Pablo Picasso, Henri Matisse, Joan Miro, Fernand Leger, Max Ernst, Marcel Duchamp, and many others, numerous illustrations, supplements bound in as required (see below). (Lacking 'Annee' 9, issue No.9-10, and the index volume). Variously bound: two in original coloured wrappers, two in half morocco over cloth-covered boards; the majority in cloth or leatherette with the original coloured card wrappers bound in, some of the wrappers with original coloured designs by Leger, Henri Laurens, Domella, Giacomo Balla, Yves Tanguy, Duchamp and others. A nearly complete run of this influential art periodical: "revue de l'avant-garde artistique dans tous les pays" including all the original prints, pochoirs and the hors-texte plates required and the supplements 'Feuilles Volantes' and 'l'Usage de la Parole'. The Cahiers d'Art was founded by Christian Zervos in January 1916. Zervos, who was born in Greece, had previously studied literature in Marseilles and Paris, before starting in 1924 to work for the Editions Morance on the L'Art d'Ajourd'hui series. Whilst individual issues of some of the Cahiers d'Art series appear, an all-but-complete run like the present set is very rare: the last comparable set to sell at auction was in 1978. The magazine proved to be particularly innovative in two main respects: firstly, Zervos would only use images of the highest quality (including tipped-in coloured plates), and secondly, he persuaded leaders in their fields to write about their particular areas of expertise. The coverage of modern architecture included contributions from Le Corbusier and Mies van de Rohe; abstract art was defended by Mondrian, Leger, Baumeister and Kandinsky; Eisenstein wrote on cinema, Kathleen Raine on William Blake. One real coup was to get Dr. Jung to analyse Picasso. Areas that the magazine covered reflected Zervos's own wide-ranging interests: ancient art (particularly from Greece), tribal art (particularly from Afric and the South Seas), music, sculpture, photography, book production are all featured, but the main thrust was undoubtedly towards the new masters of French avant-garde art. Whole issues or special supplements are devoted to individual artists such as Matisse, Leger, Miro, Braque and of course (given Zervos's magnum opus) Picasso. Picasso features more than any other artist, and a complete run like this offers a unique perspective on the development of his art from his earliest days up to the end of the 1950s. Contemporary views and reviews of his work are available; his work when compared to his contemporaries or to past masters are all included here. In addition to the obvious great names, the magazine is also a mine for information on lesser artists with a wealth of contemporary reviews, images and information on the wider art world of the time. Often missing, but present here, one of the most obvious glories of the series are the original coloured lithographs and pochoir prints by some of the greats: there are three important early images from Joan Miro, who contributes two pochoir plates to 'annee' 9, no.1-4, and one to 'annee' 12, no.4-5. Picasso is represented by a beautiful coloured lithograph in 'annees' 15-19, no.1-4, and in the same issue is a mounted photographic portrait of Picasso by Man Ray, with his red stamped signature on the mount. Max Ernst provides a coloured pochoir to 'annee' 24, published in 1949, as does Fernard Leger, who also designed the cover. The later original covers include: Marcel Duchamp's design for the cover for 'annee' 11, no.1-3; Giacomo Balla in 1950; Henri Laurens and Leger again in 1954; Domella in 1958 and Joan Miro in 1960. Also present are all the supplements that were issued with the magazine: Feuilles Volantes was issued as part of Chiers d'Art in 1927 (10 issued ) and 1928 (2 issues) - There were was also a final issue which appeared as a separate publication in a different format, but that is not included here. L'Uage de la Parole was issued in 1939 (1 issue ) and 1940 (2 issues), all under the editorship of Georges Hugnet. Cf. Cramer Joan Miro The Illustrated Books: Catalogue Raisonne nos. III and IV; cf. Duthuit. Henri Matisse Catalogue Raisonne des ouvrages illustres nos. 64, 77 and 98; cf. Goeppert [and others]. Pablo Picasso The Illustrated Books: Catalogue Raisonne no. 15 (note on Zervos).

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Ginzburg, Ralph (editor). Avant Garde 3/69 Number 7. New York: Avant Garde Media, 1968.

Avant Garde Magazine 3/69, Number 7. The magazine, in illustrated wrapper, is in NEAR FINE condition with minor whelf and edgewear to wrapper. 72 pages. Black & white and color illustrated. Articles include: "THE SPIRIT OF 1976" COVER, photography by Carl Fischer; TOWARD A NEW SPIRIT OF '76, compiled by Leslie M. Pockell. Forty-two leading Americans offer suggestions on how to celebrate America's forthcoming bicentennial: Richard Morris, historian; Dr. Albert Sabin, Medical Researcher; Theodore Bikel, Folk Singer; Charles W. Moore, architect; Samuel Eliot Morison, historia; Seymour Krim, writer; Conrad Hilton, hotel magnate; Malvina Reynolds, folk-song writer; Ernest Dichter, consulting psychologist; Huntingon Hartford, patron of the arts; Louis J. Bakanowsky, architect; Marshall McLuhan, communications theorist; Herbert Aptheker, Marxist scholar; Nina Simone, siner; Percival Goodman, architect; Jonas Mekas, filmmaker and critic; Jim Morrison, pop singer and composer; Leslie R. Groves, General, US Army; Catherine Drinker Bowen, historia; Bruno Bettelheim, psychologist and educater; Duke Ellington, musician and composer; Robert Moses, city planner; James H.J. Tate, mayor of Philadelphia; Cleveland Amory, critic and writer; Edward M Kennedy, US Senator; Roger Katan, architect; Paul Krassner, editor of The Realist; Joseph Wood Krutch, scholar and naturalist; Oscar Brand, folk singer; John Rechy, writer; Maxwell Geismar, literary critic; David McReynolds, pacifist and radical politician; Jackie Robinson, black leader; Bernard Geis, book publisher; Johnny Carson, TV personality; Hans J. Morgenthau, political scientist; Otto Preminger, film director; Alexander Calder, sculptor; Tuli Kupferberg, poet and fug; Malcolm Boyd, clergyman and author; THE DECLINE AND FALL OF THE FEMALE BREAST by Warren Boroson. Scientist say that so few American mothers nurse nowadays that the breast may become a vestigal organ; APPEAL OF FOLK SINGING: A LANDMARK OPINION by Justice William O. Douglas; THE BLACK POWER FAILURE by James Scofield. A distinguished historian decries the impotence of Carmichael, Cleaver, and other black militant leaders; PAUL WUNDERLICH'S PAINTED WOMEN. West Germany's hottest new artist surrounds himself with earthy, blossoming young women and paints them as insatiable sexual demons; THOUGHS OF CHAIMAN JERRY by Peter Schjeldahl. Jerry Rubin, propagandist and provocateur of America's red guard, aims to lead a charge of hippie guerrillas from here to revolution; THE SATYRICON OF PETRONIUS: A NEW TAKE by Edgar A. Bunning. Inspired by the news that Federico Fellini is filming the "Satyricon," Avant-Garde commissioned America's foremost Latin scholar to make a new colloquial in translation of excerpts from the most celebrated of bawdy classics; SCULPTURE A LA RORSCHACH photography by William Watkins; PENNEBAKER: TRUTH AT 24 FRAMES PER SECOND by Hal J. Seldes. A tight close-up of the maestro of cinema verite; O PRECIOUS BALLS, FAREWELL by Jean Genet, translated by Oma Stanley; THE DEMISE OF DEATH by R. Michael Davidson. Thanks to new scientific discoveries, the only thing we can be sure of nowÖis taxes; PUSSY GALORE! CAT DRAWINGS of Guy Bourdin. Paperback condition: Near Fine

[SW: Photography]

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