collages and montages

• Very few of Baader's Dada collages survive today. This may be due to Baader's habit to destroy poster collages for 'direct action' as soon as he had done them. Moreover, the bulk of Baader's personal possessions, including his personal archive, did not survive the Second World War. The small group of works that did survive are those preserved in the archives of other Dada artists, Hannah Höch (now housed in the Berlinische Galeries, Berlin), Tristan Tzara (Bibliothèque Littéraire Jacques Doucet, Paris) and Erna Hähne (Collection Andréi Nakov, Paris). Some lost works are documented in Dada journals or in the catalogue of the 'Erste Internationale Dada Messe' in 1920. After 1920 Baader continued to create collages.

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• Eine originelle Aufnahme des Führers der 'Dadaistischen Bewegung'
  Dated "Ac 24" (March 24, 1919). Lost/destroyed. Published in Leo Heller, 'Der Oberdada von Berlin', in Salonblatt. Zeit-Signale. Moderne illustrierte Wochenblatt 14.16 (Dresden, April 1919): 340.

• Das ist die Erscheinung des Oberdada in die Wolken des Himmels
  Dated 1919. Destroyed. This work was reproduced in the second issue of Der Dada (Berlin, December 1919) unpaged [p. 6] with title 'Das ist die Erscheinung des Oberdada in die Wolken des Himmels (Illustration aus dem Dadako. Mit gütiger Erlaubnis des Verlages Kurt Wolff, München)'. It accompanied an article by Baader entitled 'Reklame für mich', an unapologetic exercise in propaganda on behalf of the Oberdada.

• Gutenberggedenkblatt/Ehrenporträt von Charlie Chaplin Dated "Ad 14" (April 14, 1919). Collage of type and photograph of Baader on paper (35 × 46.5 cm). Collection Musée national d'art moderne, Centre Georges Pompidou, Paris. Reprinted in Dada / ed. by Leah Dickerman (National Gallery of Art : Washington DC 2005): 136. Exhibited at the Erste Internationale Dada-Messe Nr. 153.

• Collage Dada (Portrait Raoul Hausmann)
  Dated 1919/1920. Collage (15.7 × 11.5 cm). Kunsthaus Zürich, Grafische Sammlung. Reprinted in Eva Züchner (Hrsg.), Der deutsche Spießer ärgert sich (Ostfildern 1994) 49.

• Venit Creator Spiritus Photograph of Baader in uniform probably taken in 1916/17 and attached to Baader, Venit Creator Spiritus, 1920. Collage on paper (18.5 x 12 cm.). Archives Andréi Nakov, Paris.

• Das große Plasto-Dio-Dada-Drama
  See special item Plasto-Dio-Dada-Drama.
  Exhibited at the Erste Internationale Dada-Messe Nr. 174.

• Bekanntmachungen Des Oberdada
  See Hanne Bergius, (2000) 413.
  Exhibited at the Erste Internationale Dada-Messe Nr. 173.

• Club der Blauen Milchstraße - I
  'Reklame für mich. Dada Milchstrasse' [Advertisement for Myself. Dada Milky Way], dated Bm. 7 (December 7, 1920). Collage and photomontage on poster by Raoul Hausmann for Dada Milchstrasse (50 × 32.5 cm). Merrill C. Berman Collection. Reprinted in Leah Dickerman (ed.), Dada (National Gallery of Art : Washington DC 2005) 135.

• Club der Blauen Milchstraße - II Collage on Hausmann's 'Club der Blauen Milchstraße'. Photographs and printed flyers on lithograph poster (50.4 × 30.7 cm). Collection Kunsthaus Zürich, Grafische Sammlung.

• Der Verfasser des Buches "Vierzehn Briefe Christi" in seinem Heim [=The Author of the Book "Fourteen Letters of Christ" in his Home] Dated 1920. Photomontage and collage gelatin silver prints, printed paper, and ink on book page mounted on paper (21.6 × 14.6 cm). Collection Museum of Modern Art, New York NY. In this photomontage, Baader presents a photograph of a domestic space in which various Dada ephemera hangs on the wall at upper left. A figure has been cut out of the center of the photograph to reveal the image of Baader's dummy exhibited at the Berlin Dada Fair in 1920. This work is, in fact, a sophisticated self-portrait of Baader in his persona as the "Oberdada," a parody of a high-ranking military figure (ex. Oberleutnant) of the Dada "troupes." The figure cut out of the upper photograph can be identified as Baader himself, as his reflection is visible in the mirror at the right edge of the cutout [source: Museum of Modern Art, New York].

• Nachtasyl dada
  Dated 1924. Collage on paper (29.5 × 23 cm). Private Collection. Other pages of Nachtasyl are known as 'Letztes Manifest' and 'Malinowski's Vorschlag'. Reprinted in Laurent Le Bon (dir.), Dada (Editions du Centre Pompidou : Paris 2005) 131.

• HADO
• Eight pages from his collaged book, the Handbuch der Oberdada (HADO), exhibited at the Erste Internationale Dada-Messe Nrs. 159-166. Hanne Bergius identifies two pages from Andréi Nakov's collage book as part of HADO. One of these pages is dated "Bf. 28" (June 28, 1920), indicating that it may belong to Baader's second volume, HADO II. According to the catalogue of the Dada-Messe: "Die zweite Ausgabe des HADO ist am 28. Juni 2 erschienen. Sie liegt nicht öffentlich aus, kann aber beim Generaldada Dr. Otto Burchard, Exzellenz, eingesehen werden" [Adrian V. Sudhalter, Johannes Baader and the Demise of Wilhelmine Culture (New York University 2005) note 163 on page 296.

• GEDANKENBUCH
• Spread from Gedankenbuch, c. 1922. Collage with booklet (22 × 14.7 cm). Private collection. Reprinted in Leah Dickerman (ed.), Dada (National Gallery of Art : Washington DC 2005) 137.

• POSTCARDS
• Collaged postcards include:
  • Letter to Tristan Tzara (January 16, 1919). Letter-collage. Bibliothèque Littéraire Jacques Doucet, Paris. Reprinted in Laurent Le Bon (dir.), Dada (Editions du Centre Pompidou : Paris 2005): 129.
  • January 18, 1919 to Tristan Tzara. Bibliothèque Littéraire Jacques Doucet, Paris.
  • April 7, 1919 from Baader to Julius Hart. Collection Akademie der Künste, Berlin.
  • 'Angekarte' (November 1, 1919) from Baader and Hausmann to Hannah Hoech. Collection Berlinische Galerie, Berlin. Reprinted in Leah Dickerman (ed.), Dada (National Gallery of Art : Washington DC 2005): 96.
  • 'Der Mutter' (April 12, 1921). Collage on paper, double-sided (10.8 × 16.5 cm). Merrill C. Berman Collection.
  • Three undated postcards adhered to the albums Picabia. Bibliothèque Littéraire Jacques Doucet, Paris. Reprinted in Yves Peyré, 'Dada à Doucet', in Les cahiers du Musée national d'art moderne No. 88 (Summer 2004): 115-117.
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