![[ARP] – Tristan TZARA (1896-1963). Vingt-cinq poèmes. h arp: dix gravures sur bois. Zurich: J. Heuberger pour collection dada, 1918. In-8 (190 x 145 mm). 12 bois originaux de Hans Arp dont un sur la couverture et deux répétés. Broché, cartonnage gris de l'éditeur, plat supérieur orné d'un papier doré avec le titre et un bois de Arp imprimé (couverture légèrement jaunie).](https://www.christies.com/img/LotImages/2016/PAR/2016_PAR_14627_0020_000(arp_tristan_tzara_vingt-cinq_poemes_h_arp_dix_gravures_sur_bois_zurich091347).jpg?w=1)
Details
[ARP] – Tristan TZARA (1896-1963). Vingt-cinq poèmes. h arp: dix gravures sur bois. Zurich: J. Heuberger pour collection dada, 1918. In-8 (190 x 145 mm). 12 bois originaux de Hans Arp dont un sur la couverture et deux répétés. Broché, cartonnage gris de l'éditeur, plat supérieur orné d'un papier doré avec le titre et un bois de Arp imprimé (couverture légèrement jaunie).
ÉDITION ORIGINALE du premier livre de la collaboration Tzara-Arp. Exemplaire non numéroté du tirage courant sur Alfa. « Sometime in 1916 Arp sought a further ‘purification of the imagination’, as Ball called it, by looking for ‘new constellations of form such as nature never stops producing. I tried to make forms grow.’ The plant forms, grasses and pebbles are hinted at as generalized natural organisms. Important as these forms are for the surrealist biomorphism of Miró, or Tanguy, they are very different from Masson’s ‘automatic drawings’, which were conceived as a means of reaching the unconscious, and are tentative and exploratory with half-realised images. Arp is interested in the process of drawing, a progressive ‘freeing of form’, and the ink lines are firmly drawn and carefully finished. Arp would even repeat the same drawing to catch new variations in it. The same vitality and spontaneity is in the woodcuts for the dada books and magazines” (Ades p. 68, 3.13).
ÉDITION ORIGINALE du premier livre de la collaboration Tzara-Arp. Exemplaire non numéroté du tirage courant sur Alfa. « Sometime in 1916 Arp sought a further ‘purification of the imagination’, as Ball called it, by looking for ‘new constellations of form such as nature never stops producing. I tried to make forms grow.’ The plant forms, grasses and pebbles are hinted at as generalized natural organisms. Important as these forms are for the surrealist biomorphism of Miró, or Tanguy, they are very different from Masson’s ‘automatic drawings’, which were conceived as a means of reaching the unconscious, and are tentative and exploratory with half-realised images. Arp is interested in the process of drawing, a progressive ‘freeing of form’, and the ink lines are firmly drawn and carefully finished. Arp would even repeat the same drawing to catch new variations in it. The same vitality and spontaneity is in the woodcuts for the dada books and magazines” (Ades p. 68, 3.13).
Further details
First edition printed in an unspecified number of copies. With 12 original woodcuts by Hans Arp including the one on front cover and two repeats. Original wrappers with printed gilt label on front cover with woodcut after Arp.
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