Ausrufzeit : ca. 16:08 Uhr (ohne Gewähr)
Erste Ausgabe. – Die zweite Publikation Tzaras und die erste, die Hans Arp für ihn illustrierte. Arp war 1916 auf Einladung Hugo Balls zum »Cabaret Voltaire« gestoßen und rasch zu einem der zentralen Dada-Künstler avanciert. In der »Collection Dada« erschienen auch zwei Werke Huelsenbecks mit seinen Holzschnitten. – Zur Auflagenhöhe, die neben den zehn Vorzugsexemplaren bei J. Heuberger in Zürich gedruckt wurde, ist nichts bekannt. – Der Titel mit Holzschnittvignette und der Holzschnitt am Ende des Textes sind auf dem Deckelschild bzw. unter dem Druckvermerk wiederholt. – Das außergewöhnliche Künstlerbuch gilt als eine der Ikonen von »Dada Zürich«. – »The artist’s experiences in a radical community, centered in Ascona, Switzerland, during 1916-17, included drawing small bits of nature, simplified into what he called ›fluid ovals‹ and other living forms. The woodcuts that accompany Tzara’s poems are Arp’s first works after he lived in Ascona, and are made up of what might be described as biomorphic elements. They also reflect an interest in the ›primitive‹, which Tzara evoked in his preface about ›la poésie nègre‹.« (Riva Castleman).
Arntz 16–25. – Hagenbach 46. – Harwood 2. – LC 2001 23. – CCAB, p. 177. – Monod 10819. – A&B 2. – Skira 5. – Dada Zürich 82
20,5 : 14,8 cm. [52] Seiten. – Deckelschild oxydiert. Deckelränder und Rücken gebräunt, Gelenke brüchig. Schnitt mit wenigen Stockflecken. – Erste und letzte Seite (Titel und Druckvermerk) teilweise leicht gebräunt.
english description:
With ten (and two reprinted) woodcuts, eight of which are full-page. Original boards with a cover label made of printed gold paper.
This was Tzara’s second publication and the first that Hans Arp illustrated for him. Arp had joined the “Cabaret Voltaire” in 1916 at Hugo Ball’s invitation and quickly emerged as one of the leading Dada artists. The number of copies of the normal edition, printed by J. Heuberger in Zurich, is unknown. – The title with the woodcut vignette and the woodcut at the end of the text are repeated on the cover label and below the imprint, respectively. – This extraordinary artist’s book is considered one of the icons of “Dada Zurich“. – »The artist’s experiences in a radical community, centered in Ascona, Switzerland, during 1916-17, included drawing small bits of nature, simplified into what he called ›fluid ovals‹ and other living forms. The woodcuts that accompany Tzara’s poems are Arp’s first works after he lived in Ascona, and are made up of what might be described as biomorphic elements. They also reflect an interest in the ›primitive‹, which Tzara evoked in his preface about ›la poésie nègre‹.« (Riva Castleman).
The cover plate is oxidized. Edges and spine are browned, joints are brittle. The edges with a few foxing spots. – The first and last pages (title page and colophon) are partly slightly browned
