Arp, Bellmer, Breton, de Chirico, Dali, Duchamp, Eluard, Ernst, Giacometti, Hugnet, Klee, Magritte, Miró, Moore, Picasso, Man Ray, Styrsky, et al.
VERY RARE CATALOG OF THE HIGHLY INFLUENTIAL 1937 TOKYO EXHIBITION OF SURREALISM, FEATURING THE WORK OF NEARLY ALL THE MAJOR SURREALIST ARTISTS OF THE PERIOD. PEGGY GUGGENHEIM’S COPY, WITH HER OWNERSHIP SIGNATURE.
“From June 9 to June 14, 1937, an international Exhibition of Surrealism was held first in Tokyo, then in Kyoto... which was organized by the periodical Mizue–that is, by Shuzo Takiguchi and Nobuo Yamanaka with the help of Éluard, Hugnet, and Penrose. It was, in its way, a consecration of the work begun in Japan by Takiguchi, a poet and theoretician of prime importance who, even more than his professor Junzaburo Nishiwaki, with whom he had founded the periodical Fukuikutaru kafu yo in 1927, was the representative of an authentic surrealism” (Durozoi, History of the Surrealist Movement).
“[T]he 1937 exhibition received limited newspaper coverage. However, the impact on art students throughout Japan was seismic...” (Hopkins, A Companion to Dada and Surrealism).
This catalog of the exhibition, a special issue of Takiguchi and Yamanaka’s Mizue, features reproductions of works by Eileen Agar, Hans Arp, Hans Bellmer (4), Victor Brauner, André Breton, Jaqueline Breton, Giorgio de Chirico, Leandro Cristfol, Salvador Dali (8), Oscar Dominguez, Marcel Duchamp, Paul Eluard, Max Ernst, Mervyn Evans, Leonor Fini, Angel Ferrault, Alberto Giacometti, Stanley William Hayter, Maurice Henry, Charles Howard, Georges Hugnet, Hugo Valentine, Marcel Jean, Humphrey Jennings, Paul Klee, Dora Maar, Rene Magritte, Joan Miró (7), Henry Moore, Paul Nash, Wolfgang Paalen, Roland Penrose, Pablo Picasso, Man Ray (4), Remedios, AC Sewter, Jindrich Styrsky, Toyen, and Julian Trevelyan.
Peggy Guggenheim’s copy, with her ownership signature on binder’s front blank:
The legendary Peggy Guggenheim “was a self-described ‘art addict’ who sought to distinguish herself from her business-oriented relatives and make her mark on the world through collecting and traveling in avant-garde circles. Peggy’s collections, galleries, and museum were all stamped with her distinct tastes and style.
“Her singular career spanned the modern era, linking the Dada and Surrealist movements with Abstract Expressionism... Her taste for Surrealism, in particular, set her in opposition to Guggenheim Museum curator and director Hilla Rebay, who was dedicated to nonobjectivity and found both Surrealist symbolism and the gallery business crass and materialistic. Where Rebay, and through her influence, Solomon Guggenheim, were dedicated to art and the creation of a public museum as a spiritual pursuit, for Peggy, according to her granddaughter, curator Karole Vail, ‘her life and her art collecting were completely intertwined.’”
Guggenheim “amassed one of the most prominent collections of Cubist and Surrealist art, during a period when few others (including her uncle and Rebay) held these works in high regard. Her initial collection, acquired at a rate of one painting per day on frenzied trips to Paris during World War II, cost her only $40,000 for a group of works by Brancusi, Georges Braque, Salvador Dalí, Ernst, Fernand Léger, and Pablo Picasso, among others” (Guggenheim Museum). Later, as both a gallery and museum owner, Guggenheim became an extraordinarily influential champion of surrealist art.
Tokyo: Takiguchi and Yamanaka, 1937. Octavo (195x265 mm). In a contemporary custom half-vellum artist’s binding with beautifully patterned boards and endpapers. Guggenheim’s ownership signature is on a binder’s blank, so it is likely she commissioned the binding (although we have not been able to identify the binder). Complete with the rare entrance ticket, printed on pink paper and the (often lacking) “extra” cover by Max Ernst bound-in. Light wear to binding, some mild toning to text leaves; illustrations fine.
A MAGNIFICENT AND IMPORTANT PUBLICATION WITH AN OUTSTANDING PROVENANCE.
Price: $8,500 .