Alfred Stieglitz, Editor

(New York: Published by '291,' 291 Fifth Avenue, New York, N. Y., March 1915 - February 1916, a projected edition of 100 deluxe copies and 1,000 regular copies), the complete series of 12 numbers in 9 issues bound together, comprising Nos. 1, 2, 3, 4, 5/6, 7/8, 9, 10/11, and 12, all published; along with a single folio sheet announcing the opening  of the Modern Gallery.  Illustrated with reproductions of art work and typographical compositions by a variety of artists, including Picabia, John Marin, Picasso, Maurice de Zayas, and others, some with hand-coloring, and including the large-format photogravure of Stieglitz's The Steerage, on vellum, in No. 7/8.  Folio, 1/4 morocco with gilt-lettered spine

As the individual issues of this rare periodical were bound into one volume, probably close to the time of the last issue's publication, they have been spared the edge-chipping and wear that can be seen on loose issues. The binding has preserved much of the periodical's original character. As a whole, the issues are in good to very good condition, with the following exceptions: The last two issues (Nos. 10/11 and No. 12), on thinner paper, show evidence of having been earlier folded into thirds, horizontally, for mailing. As they have been bound flat in the current volume for decades, however, these folds have largely flattened over time. We regret that we used the incorrect terminology in our printed catalogue entry for Number 10/11—this double number is unopened, not uncut. Numbers 1 through 9, on heavier paper, have light parallel vertical creasing in two places on most of the leaves. This appears to have been caused by the volume having been read over time, with creasing caused as the heavier leaves were turned. This is a regular pattern throughout, appearing at varying degrees on different leaves, undoubtedly arising from the turning of the heavier pages over time. Most of the creases are what we would characterize as soft. Number 12 shows what appear to be stains from old foxing on the front pictorial wrapper. The binding is worn and soiled, with chipping on the leather, particularly at the head and foot of the spine. The joints are cracked, particularly near the head of the spine. Names inscribed in ink in the upper left corner of the front pastedown have been marked over with crayon, and the name "Gourlay" has been inscribed in crayon at the head of the pastedown. In addition, there are names and words inscribed in ink on 3 pages of the multiple flyleaves in the front. There are no inscriptions, however, on any of the '291' issues.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The front and back illustrations of No. 1, by Maurice de Zayas and Edward Steichen respectively, have pink pochoir coloring.  The illustration by Katherine N. Rhoades in No. 2 has blue pochoir coloring. The John Marin illustration in No. 4 has blue hand-coloring.  No. 11 is uncut.

This complete set of the formative Dada journal '291' contains the additional folio sheet advertising the opening of the Modern gallery, as well as Stieglitz's photogravure, The Steerage, on vellum.  This handsomely-bound set was originally in the collection of George Gourlay (1918-2010), an artist who studied at the School of the Art Institute of Chicago in the years after World War II.  It is believed that he acquired this volume from a fellow student at the Institute during this time.  In the 1960s, Gourlay moved to Los Angeles where he set up his studio near LAX and had some success selling his work.