MAX JACOB. Double Signed Litho by Picasso. Max Jacob - 1910

Satori in Paris, complete in Evergreen Review Magazine; #39, #40 and #41. New York, 1966, softcover, First Editions, Very Good+ condition, with no markings, light rubs, lightly age-toned edges. Specifics: No. 39, Very Good+, small spot near head of spine. No. 40, Near Fine, No 41, Very Good+, top corner bumped. The complete text of Satori in Paris in three installments preceding the Grove Press hardcover publication as noted on the copyright page. Other major contributors of new material include; Samuel Beckett, Robert Creeley, George Grosz (details from Ecce Homo), Alan Ginsberg, Henry Miller, Eugene Ionesco, Eric Bentley and Lenore Kandel.

New York:, undated [1902].. Fine. Fine condition. Original Charcoal and ink on paper. Image and sheet size : 12 1/4 x 9 3/4 inches. Elegantly custom framed in Ecru rag board with gilt decoration, one inch neoclassical silver moulding. Dimensions: 21 5/8 x 19 5/8 inches. Executed in charcoal and ink on paper- Charles Livingston Bull's preferred medium- On a rocky outcropping set above sinuous trees, a crouching Fox spies on two unsuspecting Hare below. It is evident in this charged scene of the intended hunt set in a sinuously treed landscape Bull owes a debt to the ephemerally fluid nature of the English Art Nouveau, and reflective of the work of Aubrey Beardsley (1872 - 1898)- a clear inspiration to Bull. Nonetheless- this drawing could quite possibly have been a composition intended for Andrews Wilkinson's Plantation Stories of Old Louisiana. It was not unusual for Bull to create far more compositions than were used for hundreds of stories he illustrated. Yet as was Bull's… Read More

1957. The porch at Joy Farm, near Silver Lake, NH. Oil on canvas. 16" x 12". On the verso: "joy farm terrace." "m.m.c.," and "july 27, 57." No Binding.

1959-09-21. Oil on canvas. 15" x 20". Signed by Cummings on the back. No Binding.

1950-05-11. Oil on cardboard. 16" x 20-1/4". No Binding.

Watercolor. 12-3/4" x 9-3/4". No date. Signed by Cummings at the lower left with "Pornic" written in his hand on the lower right. Cummings visited Pornic, a seaside village on the French Atlantic coast, and painted a number of outdoor scenes while he was there, frequently of French peasants at their work. This painting was part of an exhibit at the Gotham Book Mart some time in the late '60s or '70s and bears their notation "GBM #412" on verso. Although a prolific painter, Cummings seldom signed his work. No Binding. Fine.

Original work for this colorful Osaka City Japan scene by Fazzino, signed by him lower left; 32" x 26 3/4" approximate size, done on heavy white cardstock; with a blank margin to left of piece; with applied faux gemstone stars, circles, glitter; (with) a print of the trial piece in black and white, with some blue coloring, with the artist's pencil instructions and title below, done on a 13 1/2" x 10 1/4" sheet; light wear to paper edges; some soiling to blank margin on large piece, (from paint colors); both pieces in very good condition and interesting work-in-progress material for this American pop artist.. Signed by Illustrator. Very Good. Illus. by Charles Fazzino.

A landscape painting by Cummings of a colorful tree on the shore of Silver Lake in New Hampshire, where the Cummings family had a summer home. In the background is Mount Chocorua, one of the most frequent subjects of Cummings' artwork. The use of a bright and vivid palette is reminiscent of Matisse, Kandinsky, and the Fauvists, all of whom have been cited as influences on Cummings as an artist. Thematically and as a composition, this image also owes a debt to Cezanne, one of Cummings' great idols as a painter and an influence, as he said, on both his and other Modernist writers' poetry and fiction by virtue of his providing "a new way of seeing things." In Cummings' work one can almost see an echo of Cezanne, with Cummings' frequent and varied depictions of Mount Chocorua echoing Cezanne's repeated returns to Mont Saint-Victoire as a subject for his paintings. 8-3/4" x 11-1/2", oil on cardboard. Painted on the underside of the cover of a box of his typewriter paper. Undated. Edges slightly rough, and… Read More

c. 1921. In the 1920s, E.E. Cummings was a regular contributor of both writing and artwork to The Dial magazine, which was the preeminent Modernist journal of its time, publishing such writers as Joyce, Pound, Eliot, Cocteau, William Carlos Williams, Marianne Moore, Ford Madox Ford and such artists as Picasso, Cezanne, Matisse and Kandinsky. Cummings was only 25 years old when his first pieces were accepted for The Dial and, notably, it was the only place where his poems and his artwork were published side by side on a regular basis. The January, 1921 issue had four drawings and a poem ("Puella Mea") by Cummings: this is Cummings' original sketch for one of those drawings, perhaps the most well-known of them, of a fawn on its hind legs, next to a nude woman, beneath a tree. This sketch was used as his pencil transfer, and as such is drawn on both sides of the paper. The final product, which was ink and graphite on paper, is now at the Metropolitan Museum of Art, a bequest of Scofield Thayer, Cummings'… Read More

Italy, 1825. Album of dynamic original drawings chronicling the Napoleonic era, with an emphasis on the Italian campaigns. Events depicted include sieges and battles (Mantua, Lodi, Trebbia, Marengo); the signing of treaties (Campo Formio, Tolentino); the deaths of generals (Duphot, Joubert); and the royalist attempt to assassinate Napoleon with a "macchina infernale." Later scenes include the battles of Wagram, Ligny, and Waterloo, and Napoleon's exile to St. Helena. The drawings vary in their level of finish: some precise and detailed, others with a more fluid line, but all united by a shared style and graphic weight. An optimistic early bookseller's note identifies the drawings as the work of Jacques-Louis David, which is certainly not true, but the unknown Italian artist was clearly inspired by neoclassical French history painting. "Fine dalla giornata di Marengo" expands a detail of a battle scene by Carle Vernet (1758-1836), and "Napoleone all' Isola de Lobau" echoes a painting of Charles… Read More