[DADA]. Dada Salon. International Exhibition. Paris, 1921. — Brochure, in-8, 270 x 210: (8 ff.), including the cover. Stapled. A very rare first edition of this catalog designed by Tristan Tzara for the international Dada exhibition at the Galerie Montaigne from June 6 to 30, 1921. It features a beautiful typographic front cover, pasted-in photographs of works by Jean Arp, Max Ernst, Marcel Duchamp, and Ribemont-Dessaignes, as well as texts by Philippe Soupault, Paul Éluard, Stanislas Margarine, Man Ray, Jacques Rigault, Georges Ribemont-Dessaignes, Tristan Tzara, Benjamin Péret, Louis Aragon, Jen Arp, and J. Evola. As Georges Hugnet notes in his *Dictionary of Dadaism*: “André Breton had refused to take part in such an event because it was based solely on art, even though a collaborative work by Franton and Brekel was on display. Picabia turned a deaf ear, and Duchamp—no doubt out of solidarity with Picabia, or perhaps out of indifference—wired this brief reply from New York: ‘What a load of nonsense!’ Consequently, Duchamp’s paintings were replaced by the catalog numbers assigned to them ” (Hugnet, Dictionnaire du dadaïsme, 1976, p. 308). Limited edition of 600 numbered copies on laid paper (no. 14). Perfectly preserved copy.
Estimate
€3,000 - €4,000
Buyer's premium
28.1%
[DADA].
Dada Salon. International Exhibition.
Paris, 1921. — Brochure, in-8, 270 x 210: (8 ff.), including the cover. Stapled.
A very rare first edition of this catalog designed by Tristan Tzara for the international Dada exhibition at the Galerie Montaigne from June 6 to 30, 1921.
It features a beautiful typographic front cover, pasted-in photographs of works by Jean Arp, Max Ernst, Marcel Duchamp, and Ribemont-Dessaignes, as well as texts by Philippe Soupault, Paul Éluard, Stanislas Margarine, Man Ray, Jacques Rigault, Georges Ribemont-Dessaignes, Tristan Tzara, Benjamin Péret, Louis Aragon, Jen Arp, and J. Evola.
As Georges Hugnet notes in his *Dictionary of Dadaism*: “André Breton had refused to take part in such an event because it was based solely on art, even though a collaborative work by Franton and Brekel was on display. Picabia turned a deaf ear, and Duchamp—no doubt out of solidarity with Picabia, or perhaps out of indifference—wired this brief reply from New York: ‘What a load of nonsense!’ Consequently, Duchamp’s paintings were replaced by the catalog numbers assigned to them ” (Hugnet, Dictionnaire du dadaïsme, 1976, p. 308).
Limited edition of 600 numbered copies on laid paper (no. 14).
Perfectly preserved copy.
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