150 - Der Blaue Reiter. Edited by Kandinsky [and] Franz Marc. Munich: R. Piper, 1912. With four color plates and an additional 30 black-and-white plates, seven of which are double-page spreads, as well as four music supplements, three of which are folded, numerous illustrations, and eight initials or vignettes. Original three-color illustrated linen binding. In a private suede slipcase.

Der Blaue Reiter. Edited by Kandinsky [and] Franz Marc. Munich: R. Piper, 1912. With four color plates and an additional 30 black-and-white plates, seven of which are double-page spreads, as well as four music supplements, three of which are folded, numerous illustrations, and eight initials or vignettes. Original three-color illustrated linen binding. In a private suede slipcase. Call time: approx. 1:26 p.m. (schedule subject to change) First edition, published in a run of 1,200 copies. — This famous almanac, significant in both content and program, features works by contemporary artists such as Arp, Kandinsky, Marc, Kirchner, Heckel, Nolde, Pechstein, Kubin, Klee, and many others, as well as Old Masters, ethnographic and folk artifacts, amateur paintings, and children’s drawings. - The text contributions are by the editors as well as by August Macke, David Durljuk, and others; the musical pieces are by Arnold Schoenberg, Alban Berg, and Anton von Webern. — For the four plates in vibrant pochoir colors, the two editors each selected one of their own watercolors as well as two folk art motifs. The initials were designed by Franz Marc and Hans Arp. - For the cover, Wassily Kandinsky created the famous woodcut, which was printed as a galvanic reproduction in two or (as here) three colors. “Der Blaue Reiter” influenced perceptions of modern art—including internationally, and to a far greater extent than “Die Brücke”—like hardly any other publication of the 20th century. With the outbreak of World War I, the group had already disbanded. The exhibition collective “Die Blaue Vier,” founded by Galka Scheyer in Braunschweig in 1924, then brought together Kandinsky, Lyonel Feininger, Paul Klee, and Alexej von Jawlensky. The spine and back cover feature two phototype prints based on Kandinsky’s ink drawings; the black areas on the Kandinsky plate were also printed from a phototype and “hand-colored.” The initials designed by Franz Marc and Hans Arp are unjustly rarely mentioned. Roethel 141 III (of III) and Appendix V, 13–14 and page 450. — Jentsch 5. — Garvey 139 29.5 × 22.5 cm. [4], 140 pages, 34 plates, 3 folded facsimiles, and 2 pages of sheet music, 1 advertisement insert, [6] pages of advertisements. - Binding slightly stained. - Title page attached 4 cm from the top edge. One silk endpaper with a large tear covered with adhesive. English description: With four color plates and an additional 30 black-and-white plates, seven of which are double-sided, as well as four music inserts, three of which are folded, numerous illustrations, and eight initials or vignettes. Original three-color illustrated cloth binding. In a private suede slipcase. First edition, published in a print run of 1,200 copies. - This famous almanac, significant in terms of both content and portfolio and slipcase, features works by contemporary artists—such as Arp, Kandinsky, Marc, Kirchner, Heckel, Nolde, Pechstein, Kubin, Klee, and many others—as well as old masters, ethnographic and folk artifacts, amateur paintings, and children’s drawings. - The written contributions are by the editors as well as by August Macke, David Durljuk, and others; the musical pieces are by Arnold Schönberg, Alban Berg, and Anton von Webern. - For the four plates in vibrant pochoir colors, the two editors each selected one of their own watercolors as well as two folk art motifs. The initials were designed by Franz Marc and Hans Arp. - For the cover, Wassily Kandinsky created the famous woodcut, which was printed as a galvanic engraving in two or (as here) three colors. “Der Blaue Reiter” influenced perceptions of modern art—including internationally, to a far greater extent than “Die Brücke”—like hardly any other publication of the 20th century. By the outbreak of World War I, the group had already disbanded. Galka Scheyer’s exhibition group “Die Blaue Vier,” founded in Braunschweig in 1924, then brought together Kandinsky, Lyonel Feininger, Paul Klee, and Alexej von Jawlensky. The spine and back cover feature two photogravure prints based on Kandinsky’s ink drawings; the black areas on the Kandinsky panel were also printed from a photogravure and “hand-colored.” The initials designed by Franz Marc and Hans Arp are unjustly rarely mentioned. Cover is slightly stained. - Title page is attached 4 cm from the top edge. One tissue interleaf has a large tear that has been taped over.