No. 10

325 West End Avenue, New York City, New York, 10023-8145Tel: 646 827-0724 Fax: 212 994-9603

E-mail: jonathan@jonathanahill.com and yoshi@jonathanahill.com

Rare & Important Exhibition Catalogues

1. (BASILICA OF ST. DENIS). Inventaire ou Dénombrement, tant des Corps saints etTombeaux des Rois, Qu’autres raretez qui se voyent en l’Eglise S. Denys, hors le Tresor. Engravedroyal coat-of-arms on title. 16 pp. 8vo (170 x 111 mm.), 18th-cent. paste-paper semi-stiffboards (lower edges of covers a bit worn). Paris: Pierre de Bats, 1683. $950.00

A very scarce early edition of this guide to the royal basilica of St. Denis, just north ofParis a place of pilgrimage that holds the remains of most of the French kings who reignedbetween the 10th and 18th centuries. The earliest edition we locate was published in 1656 (14pp.), and is exceedingly rare. The present work is considerably augmented from previousversions and presents updated descriptions of the church’s interior. This work lists the kings,queens, saints, and regents interred within, paired with concise biographies. Several relicsand architectural features of the basilica are also detailed.

A scarce guide, in very good condition. Some inoffensive foxing. WorldCat locates onlytwo copies in North America.

2. (BASILICA OF ST. DENIS). Le Tresor, les Corps saints, les Tombeaux, et les Raretez quise voyent dans l’Eglise Royale de S. Denys en France. Avec des Remarques curieuses. Woodcut royalcoat-of-arms on title & three woodcut floor plans. 51, [1] pp. Small 8vo (155 x 102 mm.), 18th-cent. paste-paper boards (spine a little rubbed), red calf lettering-piece on spine, spine gilt,shelf mark at tail of spine. Paris: J. Chardon, 1715.

[bound with]:

(AMSTERDAM). [Drop-title]: Description de l’Hotel de ville d’Amsterdam, avec les Explicationsde tous les Emblemes, Figures, Tableaux, Statues &c. qui se trouvent au-dehors, & au-dedans de ceBatiment. Four finely engraved folding plates. 108 pp. Small 8vo. N.p.: n.d. $1250.00

I. A valuable description of the church of St.Denis, its relics, and the crypt, which contains thetombs of French royalty. This is an earlyaugmented edition with meticulous details on thearchitecture and interior of this iconic building. In1795, revolutionaries sacked the church, and manyof its contents were destroyed or disappeared,making this an important listing of the treasuresonce found there.

Divided into four chapters, this guide proceedsfrom room to room, noting important architecturalfeatures as well as providing an inventory of theartworks and relics within. The woodcut floorplans, one of which is full-page, shows the finalresting places of France’s royalty.

II. A nicely illustrated French guide toAmsterdam’s famed city hall, a notable example ofDutch Classicism. The building was designed byJacob van Campen and completed in 1655. It isrecognized as his “main work and certainly hismasterpiece…van Campen designed both thebuilding and the decoration. The designs wereexecuted in marble by the sculptor Artus Quellien,

his principal assistant Rombout Verhulst, and other skilled artists. The size of the building— the street was enlarged to create this city center — and the rich decorations all express thecity’s glory; the building was simultaneously a monument of the Peace of Munster aftereighty years of war with Spain…”–Macmillan Encyclopedia of Architects, Vol. 4, pp. 271-72.

The present work consists of lengthy descriptions of the city hall’s exterior and interior. It begins with a history of previous city halls and explains the process of finding an architectto design a new one to embody the city’s importance. The first folding plate is a view of theold city hall structure; the remaining three depict the new building in all its glory, with thefourth being a floor plan showing van Campen’s symmetrical design. The third illustrationwas executed by “A. de Putter,” a Dutch engraver active in Amsterdam in the first half of the18th century, who seems to have rendered the city hall on a number of occasions.

Two uncommon guides to buildings of great symbolic importance. With the engravedbookplate of Ludwig Friedrich, Prince of Schwarzburg-Rudolstadt, noting that this book waspart of the 16,000-volume library purchased from chancellor Carl Gerhardt von Ketelhodt(1738-1814) in 1804 (see CERL Thesaurus).

É Benezit Dictionary of Artists, Vol. 11, p. 484 (A. de Putter).

Selling J. W. Brett’s Collection

3. BOSTON ATHENAEUM. [From upper wrapper]: Catalogue of the Seventh Exhibitionof Paintings in the Athenaeum Gallery. iv, [5]-25, 4, [2] pp. 8vo (227 x 139 mm.), orig. printedwrappers (spine defective), stitched as issued. Boston: J. H. Eastburn, 1833. $450.00

A very scarce exhibition catalogue consisting primarily of paintings from the collectionof the early English telegraph engineer John Watkins Brett (1805-63). Most of the paintingsin this exhibition were for sale, including Brett’s. In total, there were 124 Old Master andcontemporary pictures, in addition to 29 miniatures listed at the end. This exhibition was oneof several Brett conducted while touring the United States between 1832 and 1837 — withother stops at the American Academy of the Fine Arts, New York, and the Capitol Rotunda,D.C. — to advertise his collection, which he hoped to sell to the American nation en bloc.

Brett’s Introduction reads: “The suitableness of these pictures from the variety andexcellence of the masters to found a National Gallery (an object, indispensable to thepromotion of the Fine Arts) and the belief that this country rising rapidly in wealth, andadvancing in regard for the Arts generally would seize the opportunity of possessing themwas sufficient inducement for placing them before the American Public, believing that suchanother opportunity would never again occur to the Arts at the low valuation at which theywere to be offered.”

Brett’s collection included works attributed to da Vinci, Rembrandt, Guido Reni, vanDyck, Murillo, Titian, Caravaggio, Rubens, Reynolds, Steen, etc., etc. It was ultimately soldat auction the year after his death. Each picture is gushingly described, presumably by Brett.

A nice copy; the upper wrapper and title-page are foxed. We locate only three copies inNorth America.

É P. Cottrell, “Art Treasures of the United Kingdom and the United States: The GeorgeScharf Papers,” The Art Bulletin, Vol. 94, No. 4 (December 2012), pp. 618-19. ODNB.

4. BRAQUE, Georges. Exposition d’Oeuvres récentes de Georges Braque, du Mercredi 8Janvier au Vendredi 31 Janvier 1936, chez Paul Rosenberg… Three black & white illus. 9unnumbered pages. 8vo (210 x 135 mm.), orig. gray printed wrappers (a little sunned), staple-

bound. Paris: P. Rosenberg, 1936. $350.00

A scarce Braque exhibition catalogue of paintings made since 1931, featuring mostly stilllifes along with two nudes. It lists 20 paintings, three of which are illustrated. Rosenberg hadlured Braque away from Daniel Henry Kahnweiler and his brother Léonce in 1922. Braque’sfirst solo exhibition at Paul Rosenberg’s famed gallery on 21, rue la Boëtie took place in 1924. The final page of this catalogue announces future exhibitions for Seurat, Picasso, Monet,Matisse and Laurencin.

Very good copy, minor dampstaining to the first blank leaf.É Oxford Art Online.

5. BROUWN, Stanley. one distance. Illus. throughout. 64 unnumbered pages. 4to (202x 202 mm.), orig. semi-stiff gray wrappers. [From colophon]: Eindhoven: S. Brouwn & vanabbemuseum, 1981. $250.00

Brouwn’s artist’s book as exhibition catalogue for his show at the Van Abbemuseum. Itconsists of repeated black lines at identical intervals.

Near fine, printed in an edition of 1000 copies.

Seminal

6. CELANT, Germano & MORRIS, Lynda, curators. Book as Artwork, 1960/72 [20September–14 October 1972]. 47 pp. Small 4to (210 x 158 mm.), orig. black wrappers (uppercorner creased), staple-bound. [London]: Nigel Greenwood Inc. Ltd., 1972. $1250.00

First edition of this seminal exhibition catalogue, which features the first Englishtranslation of Celant’s essay on artists’ books, as well as an important list of nearly 300 then-unheralded artists’ books. Originally published in the first issue of the Italian magazine Data(Sept. 1971),the essay is recognized as one of the earliest in-depth examinations of the bookform and its bearing within Conceptual art. Celant (1940-2020), the art historian and critic,organized several Arte Povera exhibitions in Italy in the 1960s and was later appointed seniorcurator of Contemporary Art at the Guggenheim Museum. He also served as director of the1997 Venice Biennale.

“Book as Artwork is poorly produced, as is acknowledged by the publishers, hence thefairly low price; however, it does make Germano Celant’s text available to an English-speaking audience…The text is disappointing; although it is one of the first pieces about bookart as an adjunct of Conceptual art, it really amounts to a cobbling together of a series ofannotations to the works, without any real analysis of the use of the book as a medium. Itsvalue lies in Celant’s references to the significance of the book-form to certain artists, in itsattention to Italian examples, and to the fact that he (and Lynda Morris) have attempted toproduce a first list of examples of book art.”–C. Phillpot, “Feedback, 1973“ in Booktrek (2013),pp. 31-32.

The exhibition list (pp. 31-47), compiled by Celant and the art historian and curator LyndaMorris and presented chronologically, features many works that were completely unknownat the time. It includes works by Higgins, Oldenburg, Rot, Cage, Ruscha, Ono, Filliou,Kaprow, Knowles, Pistoletto, Siegelaub, Emmett Williams, Warhol, Acconci, Andre,Darboven, Byars, Nauman, Tuttle, Brouwn, Buren, Tom Phillips, Weiner, Kosuth, Baldessari,Broodthaers, etc.

Nice copy of a catalogue that is now rare on the market. Edges slightly worn. Printed in

an edition of 800 copies. É See also S. Klima, Artists Books: a Critical Survey of the Literature (1998), pp. 19-20.

BoBoAB (2nd ed.: 2013) 3.

7. GALERIE DURAND-RUEL. [From the upper wrapper]: Catalogue de l’Expositiond’Artistes Français et Belges, Helsingfors 1904. 1 p.l., 20 pp. Small 8vo (185 x 138 mm.), printedpaper wrappers, staple-bound. [Helsingfors: Handelstryckeriet, 1904]. $950.00

The very scarce catalogue of a selling exhibition organized by Durand-Ruel in Helsinki. The artists featured in this show included Degas, Denis, P. Dubois, Alfred William Finch,Forain, Jeanniot, Constantin Meunier, Monet, Pissarro, Puvis de Chavannes, Renoir, vanRysselberghe, Signac, Sisley, Jacob Smits, Henri Thomas, etc. The title of each picture isprinted in French, Finnish, and Swedish. All 69 entries are priced in francs.

Fine copy. We locate only one copy in North America.

8. EPSTEIN, Jacob. Catalogue of Collection of Sculpture in Bronze by Epstein and Exhibitionof Paintings by Contemporary British Artists, at the Showroom of the Lakeland Garage, Church StreetWindermere, from August 6 until August 20… 12 black & white illus. pasted on leaves. 32unnumbered pages. 8vo (214 x 135 mm.), orig. blue cloth over boards (spine sunned), title ingilt on upper cover & spine. [Manchester: The Cloister Press, Ltd., 1943]. $950.00

An exceedingly rare Epstein exhibition catalogue, signed by the artist; WorldCat recordsonly the BL copy. As explained on the verso of the title-page, 50 percent of sales from thisexhibition were to be given to the Merchant Navy Comforts Service. Epstein writes a briefintroduction about the works he has selected: “The works in this collection which date fromso early as the ‘Marcelle’ 1920 to the Chinese Girl ‘Chia Pi’ (Precious Jewel) 1942 cover aperiod long enough to embody at any rate a fairly comprehensive development. The worksare all in bronze and reflect immediate reactions to things (persons) seen and treatedrealistically and might seem to leave out those larger imaginative carvings and bronzes suchas ‘Genesis,’ ‘Jacob and the Angel,’ the ‘Ecce Homo’ which directly embody abstrusephilosophical or humanistic and religious themes. But to my mind and method of treatmentthe study however small must reflect not only the sculptor’s vision but his most profoundinner feeling before embodied form whatever the shape. I would destroy the legend of the‘dual personality’.”

This volume lists 46 paintings, sculptures, watercolors, and drawings, all priced. Itincludes the work of Epstein, Frances Helps, Percy Horton, P.H. Jowett, Charles Mahoney,Gilbert Spencer, Beatrice Bland, R.O. Dunlap, Richard Eurich, Allan Gwynne-Jones, LouisePickard, Richard Sickert, Rowland Suddaby, E. Boudin, D.Y. Cameron, Christopher Wood,Augustus John, Paul Nash, R.V. Pitchforth, Thomas Rowlandson, and Albert Rutherston. Theshow also featured loaned paintings, sculptures, and watercolors. Twelve of Epstein’ssculptures are depicted in the illustrations. Signed by Epstein on the verso of the front free-endpaper.

A fine copy.É Oxford Art Online (Epstein).

Signed By The Artist

9. FINCH, Spencer. Ulysses. Color illus. throughout. 220 unnumbered pages. Oblong

4to (222 x 305 mm.), orig. cloth covered boards, title onspine & upper cover. Brooklyn, NY: Trying to Press,2016. $400.00

An uncommon artist’s book based on Finch’s 2015Marfa Contemporary exhibition of the same name;printed in an edition of 500, and signed by the artist inorange pencil on the first blank leaf.

Referring to Leopold Bloom’s journey aroundDublin, Finch recounts his peregrinations in New YorkCity on 19 September 2014 through a selection of ca.1400 Pantone color swatches. Each swatch, withadjacent text revealing what is evoked, conveys sights asmundane as gravestones, subways, books, food, trashcans, buildings, traffic cones, clothing, trees, etc., etc., tothe sublime, like the artworks of Albers, Rembrandt, andVeronese.

As new. Designed by the artist Ofer Wolberger.

10. FLAVIN, Dan. [From printed envelope]: Dan Flavin: Pink and ‘Gold’ / Dec. 9th thruJan. 14th 1968. Eight perforated sheets (ca. 282 x 215 mm.) of continuous-feed green barcomputer paper (perforated margins a little worn, minor loss of paper to final blank sheet),in orig. printed mailing envelope. Chicago: Museum of Contemporary Art, 1967-68.

$2500.00

Flavin’s famous and rare computer-produced exhibition catalogue Pink and ‘Gold’; thiscopy, in the original printed envelope, is addressed to the influential critic and artist SidneyTillim (1925-2001). Each example of this catalogue is unique, due to the irregular printingfrom pre-punched paper cards fed into a rented IBM 1401 decimal computer. Each visitorcould print their own catalogue. This was Flavin’s first solo museum exhibition and thefourth staged by the nascent Museum of Contemporary Art, Chicago.

The catalogue contains Acknowledgments and a Foreword from the museum’s director,Jan van der Marck (1929-2010); an Introduction — consisting of quotes from Flavin, DonaldJudd, and Roland Barthes — compiled by Dan Graham; Statement by Flavin, dated 6December 1967; a primitive Wall Plan recreating the layout of the exhibition; Biography ofFlavin; and finally a Selected Bibliography by the Artist.

From the MCA’s website: “Holding interesting parallels to the usage of commercial IBMtechnology by members of the Fluxus movement like George Maciunas, the application of the

computer in Pink and ‘Gold’ functioned in line with Flavin’s other conceptual aspirations. As a piece of standardized commercial technology often used in banal, corporate settings (likeflorescent light tubes) the catalogues produced by the machine were meant to be equallyinterchangeable, commodified, and serially produced. One reason Flavin may have neverventured to use similar technology in his work again is the fact that he was so disappointedwith the production quality of the catalogues themselves. Unlike the pristine, identicalappearances of his light installations, the catalogues were often irregular inappearance—containing unique attributes like different orientations, paper types, spacingerrors and missing words.”

A nice and textually complete copy with a fine association. Two-inch tear to the finalblank leaf and some soiling to the envelope.

É See the Museum of Contemporary Art’s exhibition page for a description and imagesof the exhibition.

11. GRANELL, Eugenio Fernandez. Du 25 juin au 12 juillet 1954, Vernissage le 25 juinà partir de 17 h. Yellow sheet folded in three. Text by Benjamin Péret and list of worksexhibited. Paris: 1954. $250.00

A very rare Etoile Scellée exhibition invitation; we locate only one copy in North America. Granell’s L’Avenir est heureux is pictured. L’Etoile Scellée, the gallery directed by AndréBreton, was located on rue du Pré aux Clercs in the 7th arrondissement; the space was aninfluential center of Surrealism from 1952 to 1956 and hosted a number of importantexhibitions. It held exhibitions for Hantaï, Toyen, Slavko Kopac, Judit Reigl, GiordanoFalzoni, Max Walter Svanberg, Meret Oppenheim, etc.

Near fine.

12. KAWARA, On. One Million Years. Many black & white illus. 16 pp. Small folio (295x 210 mm.), orig. semi-stiff pictorial wrappers, staple-bound. Tokyo: Galere Watari, 1983.

$350.00

A rare exhibition catalogue for Kawara’s bookwork “One Million Years.” The exhibitiontook place at Galerie Watari in Tokyo from 27 October to 30 November. With a usefulbiography of the artist at the end.

Founded in 1972 by Shizuko Watari (1932-2012), Galerie Watari hosted exhibitions byHaring, Broodthaers, Nam June Paik, and Shinro Ohtake. The gallery closed in 1989 and theyear after, Watari formed the Watari-um museum in Shibuya.

In fine condition, one of 1500 copies printed.

From the Library of Auguste Gaspard Louis Desnoyers

13. (LOUVRE). Musée Central des Arts. Notice des Tableaux des Ecoles française et flamande,Exposés dans la grande Galerie, Dont l’ouverture a eu lieu le 18 Germinal an VII [7 April 1799];et des Ecoles de Lombardie et de Bologne, dont l’exposition a eu lieu le 25 Messidor an IX [14 July1801]. 1 p.l., ii, 152 pp. 12mo (153 x 100 mm.), cont. pink paste-paper boards (spine sunned),green morocco lettering-piece on spine. Paris: L’Imprimerie des Sciences et Arts, [?1801].

$500.00

The second printing of this exhibition livret, describing 945 works (the first printing

recorded only 944 works). This copy was bound for Auguste Gaspard Louis Desnoyers (1779-1857), premier Graveur du Roi. The present catalogue combines the contents of two greatexhibitions, the first of French and Flemish pictures, the other consisting of Italian paintingslooted from Lombardy and Bologna. Both were held in the grande Galerie of the Muséecentral des Arts (now the Louvre). As explained in the Avertissement, the artworks from theexhibitions were joined in the present livret to avoid forcing “la classe le moins fortunée” tobuy two separate catalogues.

The exhibitions presented an impressive array of artists from the three schools, such asBoullogne, S. Bourdon, C. Le Brun, Chardin, N. Coypel, Largillière, Parrocel, Poussin, C.Vanloo, Vernet, N. Berchem, Cuyp, Dou, Dürer, van Dyck, van Goyen, Holbein, Dujardin,Jordaens, Metsu, Matsys, A. & I. van Ostade, Potter, Rembrandt, Rubens, Ruysdael, Teniers,Wouwerman, Wijnants, An. & L. Carracci, Caravaggio, Domenichino, Guercino, Schedoni,Veronese, da Vinci, del Piombo, etc. The Mona Lisa is number 923.

The majority of entries are thoroughly described, and the compilers have often addedvaluable biographical information. This was at a time when scholarship of Italian art wassorely underdeveloped, and the French were finally able to conduct foundational research,thanks to the concentration of paintings culled from French national collections and thoseseized in Italy.

Very good copy with an interesting provenance. Sporadic and inoffensive spotting anda small tear just touching the text on leaf B6. From the library of Auguste Gaspard LouisDesnoyers, one of the great engravers of his time (see Lugt Marques, 101 & 102).

É Marquet de Vasselot, Répertoire des catalogues du Musée du Louvre (1793-1926) (1927), 115. See also N. Etienne, ed., The Restoration of Paintings in Paris, 1750-1815 (2017), pp. 210-11, formore on the restoration of paintings described here.

From the Library of Alexandre Brongniart,Director of the Manufacture Royale de Sèvres

14. (LOUVRE). Statues, Bustes, Bas-Reliefs, Bronzes, et autres Antiquités, Peintures, Dessins,et Objets curieux, conquis par la Grande Armée, dans les années 1806 et 1807; dont l’exposition aeu lieu le 14 Octobre 1807… ii, 109 pp. 12mo (155 x 100 mm.), cont. orange paste-paperwrappers (extremities a little frayed), label in manuscript on upper cover, stitched as issued. Paris: Dubray, 1807. $350.00

A livret documenting the sculptures, antiquities, paintings, and drawings assembled foran exhibition celebrating the French victory at the Battle of Jena-Auerstedt (1806). Thiscatalogue consists of 710 entries, many extensively described with scholarly notes. Artistswhose works were shown include J. Asselijn, Bakhuizen, Bega, Bol, S. Bourdon, Brauwer,Canaletto, An. Carracci, Cranach, Dow, Dürer, van Eyck, both Poussin, Giorgione, H. Holbein,Jordaens, Lairesse, A. Mignon, A. & I. van Ostade, Potter, Rembrandt, Rubens, ter Borch,Tintoretto, Titian, Veronese, Weenix, etc. The title of the catalogue is a little misleading: nos.283-650 are paintings and nos. 650-685 drawings.

Nice copy. From the library of Alexandre Brongniart (1770-1847), the celebrated directorof the Manufacture Royale (later Nationale) de Sèvres.

É Marquet de Vasselot, Répertoire des catalogues du Musée du Louvre (1793-1926) (1927), 128.

Ex-Brongniart

15. (LOUVRE). Notice des Statues, Bustes et Bas-Reliefs, de la Galerie des Antiques du MuséeNapoléon, ouverte pour la première fois le 18 Brumaire an 9 [9 November 1800]. 184 pp. 12mo(155 x 95 mm.), cont. pink wrappers, label in manuscript on spine, stitched as issued. Paris:L. P. Dubray, 1811.

[with]:

(—). Supplément à la Notice des Antiques du Musée Napoléon, contenant l’indication des Monumentsexposés dans la Salle des Fleuves. 1 p.l., v, 24 pp. 12mo (150 x 95 mm.), cont. pink wrappers, titlein manuscript on spine, stitched as issued. Paris: L. P. Dubray, 1811. $850.00

The livret for a seminal exhibition of antiquities, with the very rare supplement. Thisexhibition was originally held in 1800, and the present work is a later printing of thecontemporaneously issued catalogue, but with important additions. The first of the presentcatalogues lists 254 objects, such as statues, sarcophagi, busts, altars, urns, etc.; thesupplement adds another 58 works (nos. 255-312) that were displayed in the Salle desFleuves. This second livret also presents a complete history of the construction anddecoration of this gallery, which was designed by Pierre Lescot and Jean Goujon. We learnnumerous details about the objects from the erudite descriptions. Many of these antiquitieswere confiscated from Italy, but some were loaned from French collections.

Nice copies. The last four leaves in the first volume are a little browned and worn. Fromthe library of Alexandre Brongniart (1770-1847), the celebrated director of the ManufactureRoyale (later Nationale) de Sèvres.

É Marquet de Vasselot, Répertoire des catalogues du Musée du Louvre (1793-1926) (1927), 14& 18.

16. (LOUVRE). Notice des Tableaux exposés dans la Galerie du Musée Royal. 239 pp. Small8vo (155 x 98 mm.), later sheep-backed marbled boards (spine rubbed). Paris: Mme HérissantLe Doux, 1816.

[bound with]:

(—). [Drop-title]: Notice des Tableaux de diverses Ecoles exposés dans le Grand Salon du MuséeRoyal et dans la Salle d’Entrée. 11 pp. Small 8vo. [Paris: Mme Hérissant Le Doux, 1817].

$450.00

I. First edition of this uncommon painting exhibition catalogue. It describes 1101pictures; every entry begins with the artist’s biographical information. A number of paintingsare detailed at great length; engravings after certain paintings are also noted as available forsale at the museum.

II. The rare catalogue of a choice exhibition of paintings shown in the entrance andGrand Salon of the Musée Royal. This display presented 33 paintings from the French,Northern, and Italian schools, including the work of Le Brun, P. Veronese, Holbein the Elder,Rubens, Mignard, C. J. Vernet, Vien, and Vouet.

Very good copies of two Louvre catalogues. The second volume is rather rare. Engravedbookplate of the sculptor and engraver Henri Nocq (1869-1942) on the front paste-down.

É Marquet de Vasselot, Répertoire des catalogues du Musée du Louvre (1793-1926) (1927), 145& 146.

“One Seems to Complete the Other” One of 20 Copies on Japon, with the Invitation

17. MONET, Claude & RODIN, Auguste. Claude Monet, A. Rodin. 89, [1] p. 8vo (250 x165 mm.), orig. tan printed wrappers, ms. ink title on spine, leaves uncut. Paris: GalerieGeorges Petit, 1889. $5000.00

One of only 20 copies on fine papier Japon (just 60 printed), this is the scarce catalogue forthe storied collaborative exhibition between Monet and Rodin at the Galerie Georges Petit,

organized in the summer of 1889 to coincide with the Paris Exposition Universelle. Monetdisplayed 145 of his recent works, and Rodin 36 of his sculptures. Up to that point the artworld had rejected Monet’s groundbreaking compositions, but the event proved to be aturning point in Monet’s career. The two essays, printed herein, by the critics OctaveMirbeau and Gustave Geffroy on Monet and Rodin, respectively, praise the artists’ originalityand daring. Laid in with this copy is the extremely rare printed invitation.

The installation of the exhibition did not unfold smoothly. Put in place on the morningof the vernissage, Rodin’s sculptures obscured many of Monet’s paintings, leading Monet toworry in a letter to Georges Petit that his best works would be “lost.” According to Edmondde Goncourt, the normally soft-spoken Rodin, made aware of Monet’s consternation, blurted,“I don’t give a damn about Monet, I don’t care about everyone else, I will just take care ofmyself!” The tension between the artists soon dissipated and the exhibition proved anenormous success and precipitated the recognition of Monet as a visionary of modernity. Mere acquaintances before this exhibition, the two artists maintained a regularcorrespondence until Rodin’s death in 1917.

In his review of the exhibition, the journalist Charles Frémine wrote in Le Rappel (intrans.): “The one seems to complete the other. Rodin could find no better frame for hissculpture than the painting of Claude Monet…At first glance, one sees that they are a forceunto themselves. One is really in their space, and nature is at home here. It is to naturealone that they address their work…Result: surprise, novelty, originality…What they foundis life.”

The catalogue lists chronologically the 145 works selected by Monet, executed between1864 and 1889, and the 36 works by Rodin. The owners of many of the pieces are noted.

Superb copy of an important exhibition catalogue. Limited to 60 copies total, the presentcopy is no. 2 of 20 numbered copies on papier Japon.

É Musée Rodin website, “Rencontre: Rodin et Monet.”

18. SERRA, Richard. [From first page]: Drawings, June 20-July 31-1979. 10 black & whiteillus. Leporello (158 x 127 mm. folded; 158 x 1651 mm. unfolded), printed on one side onlyand consisting of 13 printed pages. [From final page]: Seattle, WA: Richard Hines Gallery,1979. $350.00

A very rare catalogue in an innovative leporello format issued on the occasion of Serra’ssolo exhibition of drawings at the Richard Hines Gallery in Seattle. All seven pieces areillustrated, with a check-list.

Near fine, minor wear to the first and last pages.

19. STAËL, Nicolas de. [From the upper cover]: Nicolas de Staël, Musée d’Antibes, 1erJuillet – 15 Aout 1955. One black & white full-page illus. 8 pp. Large 8vo (252 x 168 mm.),orig. printed wrappers, staple-bound. [Antibes: 1955]. $250.00

The rare catalogue of the first posthumous exhibition for the artist (1914-55), which washeld at the Musée d’Antibes (now the Musée Picasso); WorldCat shows only one copy, inSwitzerland. A travelling exhibition of de Staël’s work was organized in the United States thesame year. This catalogue, with one illustration, lists 17 works, with measurements, whichthe artist completed “in the light of the Mediterranean” in the months before his suicide. Atthe end, there is a note that another retrospective will take place in Paris at the Musée d’ArtModerne in 1956, which “will allow us to assess his powers of creation across fifteen years of

uninterrupted work.”In excellent condition, printed on thick paper.

20. TOYEN, Marie. Exposition Toyen, Préface d’André Breton, du 13 Juin au 12 Juillet 1947,Vernissage le 13 Juin à 16 heures. Four small vignettes in the corners of the Preface side. Single sheet folded twice (127 x 103 mm. folded). Paris: Galerie Denise René, 1947. $200.00

A scarce exhibition invitation to Toyen’s 1947 show at the Galerie Denise René. With thePreface composed by Breton and a check-list of the 49 paintings and drawings displayed.

Good copy, red ink stain to one fold and wear to top and bottom fold.

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