![[Satie, Erik. (1866–1925)] [Cocteau, Jean. (1889–1963)] Le Coq - Issues 1 & 4](http://www.schubertiademusic.com/cdn/shop/files/Satie_Le_Coq_1.jpg?v=1722186951)
![[Satie, Erik. (1866–1925)] [Cocteau, Jean. (1889–1963)] Le Coq - Issues 1 & 4](http://www.schubertiademusic.com/cdn/shop/files/Satie_Le_Coq_2.jpg?v=1722186951)
[Satie, Erik. (1866–1925)] [Cocteau, Jean. (1889–1963)]. Le Coq - Issues 1 & 4. Very rare first and fourth issues of the influential magazine. No. 1, Mai 1920; No. 4, Novembre 1920 [appearing as "Le Coq Parisien"]. Large single-sheet, single-sided format, trifolded for distribution, each panel 14 x 27.5 cm, expanding into fully printed newspaper format (42 x 55 cm). Fragile pink paper, some splitting and toning along the folds, overall fine (both issues). Together with a subscriptiont ticket.
From issue No. 1:
"Ravel refuse la Légion d'Honneur / mais toute sa musique l'accepte" - Erik Satie
"Toute ma jeunesse on me disait: Vous verrez quand vous aurez 50 ans. J'ai 50 ans. Je n'ai rien vu." - Erik Satie
"Dernieres Nouvelles:
Les 6 musiciens ne s'intéressent plus au contrepoint harmonique.
Fondation de la Ligue Anti-Moderne
Retour à la poésie. Disparition du gratte-ciel. Rèapparition de la rose."
From Issue No. 4:
"Ne jetez plus vos vieux bijoux" - Erik Satie
"Exception faite pour Claude Debussy, l'orchestre poussiéreux des impressionnistes n'est pas de l'orchestrea. C'est du piano orchestré." - Erik Satie
"Jean Cocteau is attributed as founder and guiding light, with contributions by an impressive array of the Parisian musical, artistic, and literary avant-garde of the early 1920s, including Tristan Tzara (who had moved to Paris from Zurich), Erik Satie, Blaise Cendrars, and Max Jacob. The woodcut illustrations and multi-directional typographic arrangements are typical of Dada-influenced style. Cocteau’s 1918 manifesto Le Coq et l'Arlequin, which called for a reorientation of musical composition away from the past and toward Paris’s urban present of cabarets and theaters, is a likely point of reference for the journal’s title and approach." (Anna Fishaut, text for the exhibition 'Revues: Vues Rares', The Art & Architecture Library, Stanford University, Stanford CA.)
"While appearing to imitate Picabia's '391' with its folded format, fragmented text and variegated typography, 'Le Coq' surpassed it completely with its sparkling cocktail of anti-Dada wit, 'désinvolture', high spirits and gaiety that sought to celebrate the 'pure' French spirit...The first [issue], in pale pink, included a text on the cover by Auric entitled 'Bonjour, Paris!'. This was followed inside by a statement of faith from Satie (essentially a two-fingers up at Ravel), a protest by Radiguet against a Frenchman's obligation always to be an intellectual and a side-swipe at Stravinsky while celebrating his rival Schoenberg. All the numbers of 'Le Coq' took as their principal theme variations of the slogan that appeared in the first issue: 'Return to poetry. Disappearance of the skyscraper. Reappearance of the rose.' " (James S. Williams, "Jean Cocteau", p. 96 - 97)
From issue No. 1:
"Ravel refuse la Légion d'Honneur / mais toute sa musique l'accepte" - Erik Satie
"Toute ma jeunesse on me disait: Vous verrez quand vous aurez 50 ans. J'ai 50 ans. Je n'ai rien vu." - Erik Satie
"Dernieres Nouvelles:
Les 6 musiciens ne s'intéressent plus au contrepoint harmonique.
Fondation de la Ligue Anti-Moderne
Retour à la poésie. Disparition du gratte-ciel. Rèapparition de la rose."
From Issue No. 4:
"Ne jetez plus vos vieux bijoux" - Erik Satie
"Exception faite pour Claude Debussy, l'orchestre poussiéreux des impressionnistes n'est pas de l'orchestrea. C'est du piano orchestré." - Erik Satie
"Jean Cocteau is attributed as founder and guiding light, with contributions by an impressive array of the Parisian musical, artistic, and literary avant-garde of the early 1920s, including Tristan Tzara (who had moved to Paris from Zurich), Erik Satie, Blaise Cendrars, and Max Jacob. The woodcut illustrations and multi-directional typographic arrangements are typical of Dada-influenced style. Cocteau’s 1918 manifesto Le Coq et l'Arlequin, which called for a reorientation of musical composition away from the past and toward Paris’s urban present of cabarets and theaters, is a likely point of reference for the journal’s title and approach." (Anna Fishaut, text for the exhibition 'Revues: Vues Rares', The Art & Architecture Library, Stanford University, Stanford CA.)
"While appearing to imitate Picabia's '391' with its folded format, fragmented text and variegated typography, 'Le Coq' surpassed it completely with its sparkling cocktail of anti-Dada wit, 'désinvolture', high spirits and gaiety that sought to celebrate the 'pure' French spirit...The first [issue], in pale pink, included a text on the cover by Auric entitled 'Bonjour, Paris!'. This was followed inside by a statement of faith from Satie (essentially a two-fingers up at Ravel), a protest by Radiguet against a Frenchman's obligation always to be an intellectual and a side-swipe at Stravinsky while celebrating his rival Schoenberg. All the numbers of 'Le Coq' took as their principal theme variations of the slogan that appeared in the first issue: 'Return to poetry. Disappearance of the skyscraper. Reappearance of the rose.' " (James S. Williams, "Jean Cocteau", p. 96 - 97)
[Satie, Erik. (1866–1925)] [Cocteau, Jean. (1889–1963)]. Le Coq - Issues 1 & 4. Very rare first and fourth issues of the influential magazine. No. 1, Mai 1920; No. 4, Novembre 1920 [appearing as "Le Coq Parisien"]. Large single-sheet, single-sided format, trifolded for distribution, each panel 14 x 27.5 cm, expanding into fully printed newspaper format (42 x 55 cm). Fragile pink paper, some splitting and toning along the folds, overall fine (both issues). Together with a subscriptiont ticket.
From issue No. 1:
"Ravel refuse la Légion d'Honneur / mais toute sa musique l'accepte" - Erik Satie
"Toute ma jeunesse on me disait: Vous verrez quand vous aurez 50 ans. J'ai 50 ans. Je n'ai rien vu." - Erik Satie
"Dernieres Nouvelles:
Les 6 musiciens ne s'intéressent plus au contrepoint harmonique.
Fondation de la Ligue Anti-Moderne
Retour à la poésie. Disparition du gratte-ciel. Rèapparition de la rose."
From Issue No. 4:
"Ne jetez plus vos vieux bijoux" - Erik Satie
"Exception faite pour Claude Debussy, l'orchestre poussiéreux des impressionnistes n'est pas de l'orchestrea. C'est du piano orchestré." - Erik Satie
"Jean Cocteau is attributed as founder and guiding light, with contributions by an impressive array of the Parisian musical, artistic, and literary avant-garde of the early 1920s, including Tristan Tzara (who had moved to Paris from Zurich), Erik Satie, Blaise Cendrars, and Max Jacob. The woodcut illustrations and multi-directional typographic arrangements are typical of Dada-influenced style. Cocteau’s 1918 manifesto Le Coq et l'Arlequin, which called for a reorientation of musical composition away from the past and toward Paris’s urban present of cabarets and theaters, is a likely point of reference for the journal’s title and approach." (Anna Fishaut, text for the exhibition 'Revues: Vues Rares', The Art & Architecture Library, Stanford University, Stanford CA.)
"While appearing to imitate Picabia's '391' with its folded format, fragmented text and variegated typography, 'Le Coq' surpassed it completely with its sparkling cocktail of anti-Dada wit, 'désinvolture', high spirits and gaiety that sought to celebrate the 'pure' French spirit...The first [issue], in pale pink, included a text on the cover by Auric entitled 'Bonjour, Paris!'. This was followed inside by a statement of faith from Satie (essentially a two-fingers up at Ravel), a protest by Radiguet against a Frenchman's obligation always to be an intellectual and a side-swipe at Stravinsky while celebrating his rival Schoenberg. All the numbers of 'Le Coq' took as their principal theme variations of the slogan that appeared in the first issue: 'Return to poetry. Disappearance of the skyscraper. Reappearance of the rose.' " (James S. Williams, "Jean Cocteau", p. 96 - 97)
From issue No. 1:
"Ravel refuse la Légion d'Honneur / mais toute sa musique l'accepte" - Erik Satie
"Toute ma jeunesse on me disait: Vous verrez quand vous aurez 50 ans. J'ai 50 ans. Je n'ai rien vu." - Erik Satie
"Dernieres Nouvelles:
Les 6 musiciens ne s'intéressent plus au contrepoint harmonique.
Fondation de la Ligue Anti-Moderne
Retour à la poésie. Disparition du gratte-ciel. Rèapparition de la rose."
From Issue No. 4:
"Ne jetez plus vos vieux bijoux" - Erik Satie
"Exception faite pour Claude Debussy, l'orchestre poussiéreux des impressionnistes n'est pas de l'orchestrea. C'est du piano orchestré." - Erik Satie
"Jean Cocteau is attributed as founder and guiding light, with contributions by an impressive array of the Parisian musical, artistic, and literary avant-garde of the early 1920s, including Tristan Tzara (who had moved to Paris from Zurich), Erik Satie, Blaise Cendrars, and Max Jacob. The woodcut illustrations and multi-directional typographic arrangements are typical of Dada-influenced style. Cocteau’s 1918 manifesto Le Coq et l'Arlequin, which called for a reorientation of musical composition away from the past and toward Paris’s urban present of cabarets and theaters, is a likely point of reference for the journal’s title and approach." (Anna Fishaut, text for the exhibition 'Revues: Vues Rares', The Art & Architecture Library, Stanford University, Stanford CA.)
"While appearing to imitate Picabia's '391' with its folded format, fragmented text and variegated typography, 'Le Coq' surpassed it completely with its sparkling cocktail of anti-Dada wit, 'désinvolture', high spirits and gaiety that sought to celebrate the 'pure' French spirit...The first [issue], in pale pink, included a text on the cover by Auric entitled 'Bonjour, Paris!'. This was followed inside by a statement of faith from Satie (essentially a two-fingers up at Ravel), a protest by Radiguet against a Frenchman's obligation always to be an intellectual and a side-swipe at Stravinsky while celebrating his rival Schoenberg. All the numbers of 'Le Coq' took as their principal theme variations of the slogan that appeared in the first issue: 'Return to poetry. Disappearance of the skyscraper. Reappearance of the rose.' " (James S. Williams, "Jean Cocteau", p. 96 - 97)