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Tutte le aste / Libri, Mappe & Manoscritti / Léon Bazalgette / Italo Tavolato - Lot de 2 livres...
1. George Grosz. L’Homme & l’Œuvre, 1926, japon numéroté. Edited in Paris, by Les Écrivains Réunis, in 1926. One volume, small octavo (19.58 x 14.5 cm), 19 numbered pages + 25 leaves with reproductions (lithographs, drawings, a watercolor), including a self-portrait of the artist (1920), drawings titled Maison close (1915), Explosion de démence (1916), Paris (1924), Méditation (1922), etc. Here, copy no. 23 on Imperial Japan paper, one of the 50 copies on fine paper. 472 Structure of the work This volume constitutes the third title in the “Contemporary Artists” collection published by Les Écrivains Réunis. It is a complete monographic work devoted to George Grosz, illustrated with selectively chosen reproductions of his major works from 1915 to 1924. The main text is followed by full-page reproductions of commented works. The whole is presented with a gilt-ruled cover, protected by an original crystal-clear paper partly preserved. Theme of the book This monograph highlights the artistic and human trajectory of George Grosz, a central figure of New Objectivity. The author traces his political commitment, his virulent denunciation of German bourgeois society in the interwar period, his visceral anti-militarism, and the power of his graphic language — violent, satirical, expressionist. Brief biography of the author Léon Bazalgette (1873–1928) was a French writer, critic and translator renowned for his works on Anglo-Saxon literature, notably Whitman. Although he died in 1928, his text on George Grosz appears here posthumously. This text may thus be a recovered or unpublished manuscript, published long after his death. It testifies to a strong literary and political perspective on Grosz’s work. About the illustrators The illustrations are all by George Grosz himself (1893–1959), German draftsman, caricaturist and painter. A master of social satire, he established himself in postwar Berlin as a figure of radical critique through drawing. Grosz’s style — close to Dada and brutal realism — uses ink, watercolor, and charcoal to depict a chaotic, grotesque world peopled with corrupt soldiers, prostitutes and decadent bourgeoisie. Historical significance of the book Published in 1945, this work appeared in a Europe still scarred by war, while George Grosz lived in the United States, exiled since 1933. This Paris edition, printed in small numbers, reflects a strong intellectual interest in France for German artists critical of the Nazi regime and prewar German society. The book aligns with the posthumous recognition movement of engaged, satirical, modern thought. It is also significant as a rare French publication on Grosz, long before his work was massively rediscovered in the 1970s. Condition of the work Good general condition for a paperback book of its era. Original gilt-ruled cover with printed illustration, slightly browned, small tears along the back visible in the photo (top and bottom rounded, creases marked). Interior clean and well preserved. The reproductions are sharp. Copy no. 23 on Imperial Japan paper, high-quality paper. Nota bene: as I am not a professional bookseller I cannot always provide a fully professional description, especially for bound volumes, nor all conservation details. The photos are an integral part of the descriptions given in good faith and I am available for specific questions. To save substantial shipping costs it is possible to ship the package by Mondial Relay to certain European countries. Contact us. About the value of the book Copies on Imperial Japan paper (limited edition, 50 copies) of this work are rare on the market. One can sometimes find ordinary copies on fine paper (edition of 1000) between €80 and €120, depending on condition. The Japon edition, numbered, as here no. 23, can be estimated at €220–€300, depending on demand and condition. No copy of this limited edition is currently listed, which enhances its rarity. The posthumous nature of Bazalgette’s text adds to its bibliophilic interest. 2. Grosz, 1924, EO Edited in Rome, by Edizioni di Valori Plastici, in 1924. One volume, small octavo (20 x 14 cm), 13 numbered pages + 16 pages = 32 reproductions in phototype. Structure of the work This work consists of a multi-page critical essay on the oeuvre of Georg Grosz, followed by a series of 32 black-and-white plates printed by phototype. It is an isolated volume, not pulled from a series, belonging to the collection “Les Artistes Nouveaux.” The whole is presented in soft cover, with a cover illustration by a reproduction of one of the drawings. The work is not divided into chapters but follows a thematic progression, interweaving analysis and reproduction. Theme of the book This book is a monographic essay devoted to the German artist Georg Grosz. It analyzes his graphic work as a powerful satire of the German bourgeoisie in the postwar period. Through a biting denunciation of militarism, moral hypocrisy and social oppression, Tavolato places Grosz’s art in a political and social dimension, revealing the disfigured soul of a fallen world. Brief biography of the author Italo Tavolato (dates unknown) was an Italian art critic active in the first half of the 20th century. He collaborated with Valori Plastici, a voice for a return to classic order in postwar Italian art. Tavolato took an interest in German modern art, particularly Expressionism and New Objectivity, as shown by this essay on Grosz. About the illustrators Georg Grosz (1893–1959), born Georg Ehrenfried Groß, was a major German draftsman and painter of the Berlin Dada movement and later of the Neue Sachlichkeit (New Objectivity). Known for his sharp, caricatural style, he ferociously depicted the moral decadence of German bourgeoisie, militaristic drift and the ravages of war. His works, often satirical, use ink drawing to strike the imagination with their violence and expressive precision. Historical significance of the book Published in 1924, during the height of social and political tensions of the Weimar Republic, this book is a critical testimony of its era. Grosz was at that moment one of Germany’s most controversial artists, pursued for blasphemy and often censored. The Italian edition by Tavolato offers a rare and foreign reading of Grosz’s reception in France or Germany, illustrating early European recognition of Grosz’s artistic and political impact. This book also follows the Valori Plastici review, which advocated a return to plastic rigor in art while documenting engaged modern artists. Condition of the work Paperback, lightly worn illustrated cover with a small crease visible in the upper right corner. Edges untrimmed, paper well preserved, very slight wear. Interior very fresh, no apparent foxing, pages well preserved, phototype plates are sharp and untorn. The copy appears complete with the 32 reproductions promised. Nota bene: as I am not a professional bookseller I cannot always provide a fully professional description, especially for bound volumes, nor all conservation details. The photos are an integral part of the descriptions given in good faith and I am available for specific questions. To save substantial shipping costs it is possible to ship the package by Mondial Relay to certain European countries. Contact us. About the value of the book This work is relatively rare, especially in its complete version with all plates in good condition. Similar copies are sometimes available for €150–€300 depending on condition on specialty sites. Note that works illustrated by Grosz, especially in the 1920s, are sought by collectors of political, Dadaist or Expressionist art. The copy presented here could reasonably be offered at €220–€250 as is, awaiting a knowledgeable buyer."}
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