Printed on one side. Fine paper card. Rome: Gian Enzo Sperone, 1975.
Invitation card to the third and final solo Anselmo (b. 1934) exhibition held by Sperone, in Rome. In fine condition.
❧ A. Minola, M.C. Mundici, F. Poli, M.T. Roberto, eds., Gian Enzo Sperone: Torino, Roma, New York: 35 Anni di Mostre tra Europa e America (2000), Vol. II, p. 493. More
Printed on one side. Card. Torino: Gian Enzo Sperone, 1975.
Invitation card to Anselmo’s second solo show of 1975 with Sperone’s gallery. In fine condition.
❧ A. Minola, M.C. Mundici, F. Poli, M.T. Roberto, eds., Gian Enzo Sperone: Torino, Roma, New York: 35 Anni di Mostre tra Europa e America (2000), Vol. II, p. 493. More
Printed on one side. Card. Torino: Gian Enzo Sperone, 1975.
Invitation card to the first of three solo exhibitions with Sperone that Anselmo had in 1975. In fine condition.
❧ A. Minola, M.C. Mundici, F. Poli, M.T. Roberto, eds., Gian Enzo Sperone: Torino, Roma, New York: 35 Anni di Mostre tra Europa e America (2000), Vol. II, pp. 245 (installation photographs) & 493. More
Printed on both sides. Card. Rome: Sperone & Fischer, 1974.
Invitation card to Fabro’s first and only solo exhibition with Gian Enzo Sperone, it was held at Sperone and Konrad Fischer’s shared gallery in Rome. In fine condition.
❧ A. Minola, M.C. Mundici, F. Poli, M.T. Roberto, eds., Gian Enzo Sperone: Torino, Roma, New York: 35 Anni di Mostre tra Europa e America (2000), Vol. II, pp. 242-43 (installation photographs) & 492. More
Double-page black & white photographic illus. [4] pp. Single folded A3 sheet, horizontal folds for mailing. Amsterdam: Art & Project, [1971].
A mailed example of Richard Long’s first Art & Project bulletin, in fine condition.
“The artists most at home with creating pageworks for the format of the Bulletin are Lawrence Weiner and Richard Long, the one primarily with words, the other primarily with photographs…Long tended to bleed a photograph of one of his open air works to fill the entire space of the centrefold, to great effect. The fact that Long’s photographs were also very often overprinted with a.... More
[4] pp. Single folded A3 sheet, horizontal folds for mailing. Amsterdam: Art & Project, 1970.
A mailed example of this scarce and famously blank Art & Project bulletin by Ian Wilson (1940-2020). This was Wilson’s first collaboration with the Amsterdam gallery.
“Within the whole series of the Bulletins there are some that stand out for their embodiment of formal and/or conceptual concerns…the most radical Bulletin is number 30 by Ian Wilson. Other than its cover page, this Bulletin is completely blank…”–Clive Phillpot, ‘”Everything Just Floating’ — The Art & Project Bulletins,” Art & Project Bulletins 1-156, September 1968-November 1989 (2011)... More
[4] pp. Single folded A3 sheet, horizontal folds for mailing. Amsterdam: Art & Project, 1971.
A mailed copy of Brouwn’s third Art & Project bulletin. It opens with the phrase: “the total number of my steps in 1971 in Oslo.” This is repeated with various cities around the world, but they represent trips in future years, through 1985. The cities that Brouwn will visit include: Oslo, Addis Ababa, Tokyo, Dublin, Montevideo, Rome, Reykjavik, Beirut, Port au Prince, Mexico City, Ottawa, Tunis, Canberra, Brasilia, and Moscow.
Near fine; minor paper wrinkling. Addressed to gallerist Albert Waalkens (1920-2007), who operated a notable... More
80 pp. (incl. wrappers). 8vo, printed wrappers, staple-bound. Amsterdam: 1996.
An impressive Boekie Woekie catalogue with hundreds of listings, all described in English. We find works by Eduard Bal, Broodthaers, Pol Bury, Lourdes Castro, Henri Chopin, Simon Cutts, Mirtha Dermisache, van Egten, Filliou, Michael Gibbs, Kristján Gudmundsson, Erica van Horn, Iannone, Oey Tjeng Sit, Tom Phillips, Björn & Dieter Roth, Colin Sackett, Guy Schraenen, Takako Saito, Endre Tót, Jan Voss, etc., etc.
In fine condition. More
Black & white illus in fine. 30 pp. Small 4to, pictorial photocopied wrappers, staple-bound. Amsterdam: 1992.
Scarce bookseller catalogue from the important artist-run Amsterdam bookshop. It lists books by Oey Tjeng Sit, Henriette van Egten, Runa Thorkelsdottir, Jan Voss, and Cornelia Hoedeman. Nearly all of the entries provide bibliographic details and information on the contents of these artists’ books. The artists and various collaborators are depicted on the wrappers.
In fine condition. More
Black & white illus. Two sheets, printed on rectos only. Buenos Aires: centro de arte y comunicación, 1978.
A scarce cayc bulletin (“gacetilla de trabajo”), with its signature trompe-l’oeil geometric corners, announcing Carrión’s appearance in Buenos Aires on 12 July to present a program under the title “Permanencia Voluntaria.” He read his influential manifesto “El nuevo arte de hacer libros,” performed several of his sound works, and screened four of his early video works. The first sheet lists Carrión’s prior exhibitions and performances, and an introduction to the program, written by the artist, is on the second sheet.
In fine... More
Color printed on both sides. Illustrated postcard. Washington D.C.: Washington Project for the Arts, 1982.
Postcard invitation for Carrión’s screening of video works at Washington Project for the Arts, where he was an artist-in-residence. In the late 1970s he had begun to experiment with time-based media. In fine condition.
❧ G. Schraenen, ed., Dear reader. Don’t read. (2016), p. 136 (pictured). More
![Item ID: 9235 [Cassette liner]: Ulises Carrión: Trios & Boleros. Ulises CARRIÓN](https://jonathanahill.cdn.bibliopolis.com/pictures/9235.jpg?width=768&height=1000&fit=bounds&auto=webp&v=1686075552)
Audiocassette tape, printed labels on side A & B, housed in a plastic case. Orig. red paper pictorial liner. Amsterdam: Time Based Arts, 1984.
Rare audiocassette of a Carrión sound work; unrecorded by WorldCat. It was originally recorded in June 1983, and then issued through Time Based Arts the following year.
“Trios & Boleros (1983) was produced as a part of a series by a number of artists, writers and composers. The Dutch public broadcasting company VPRO allocated broadcast time to individual, unrelated productions under the umbrella title of ‘Art on the Radio, the Radio as Art’. No mathematical text... More
Black & white illus. 25 pp. & colophon. 4to, black printed softcover, title on spine. Amsterdam: Galerie Da Costa, 1980.
One of 500 copies, a scarce exhibition catalogue with an introduction composed by Carrión (1941-89). The catalogue provides a survey of Galerie Da Costa, a publisher of artists’ books and livres d’artistes managed by Juan J. Agius. Agius published two of Carrión’s bookworks: Verzamelde Werken (1980) and Sistemas (1983).
Carrión writes: “This catalogue illustrates the publishing activity developed by Juan Agius, from Da Costa Gallery, during the last 4 years. Such an activity takes place in a cultural context that... More
Stamped illus. throughout on rectos. [7] leaves & colophon. Small 4to, stamped wrappers, staple-bound. Zoersel, Belgium: Guy Schraenen éditeur, 1978.
One of 50 numbered copies (+ 5 “de luxe”) of this rare stamped artist’s book, signed by the artist on the colophon leaf. Gaglione (b. 1943) created a series of stamped poems with rubber stamps using blue ink and red ink type. This work was published by the collector and scholar Guy Schraenen (1941-2018). The “de luxe” copies came with an original typewriter poem.
A fine copy. Ours is no. 23 and signed by Gaglione in pencil. WorldCat locates just... More
Many black & white illus. [15] leaves, printed on rectos only (except for one leaf). Small folio (295 x 210 mm.), pictorial wrappers, fastened with black plastic clasps. [From verso of the first leaf]: Amsterdam: Agora Studio, Sept. 1980.
A rare exhibition catalogue, printed in an edition of 200. Carrión (1941-89) devised this as a retrospective of his works and communications with his collaborators, for which he investigated the use of names and addresses.
This catalogue, with the introduction in parallel Dutch and English, is fully illustrated with reproductions of Carrión’s earlier works and performances, including pieces such as... More
Seven folding leaves. 8vo (248 x 174 mm.), orig. wrappers, stitched as issued. [Japan]: date given on final page “1768“; this is a later copy, probably late Edo or early Meiji.
We are uncertain how to read the first name of Yoshimura, but “Hensen” is our best guess. Yoshimura lived in the Satsuma region. This manuscript is concerned with different theories of ginseng as a medicinal herb. The author discusses the writings of Zhang Zhongjing (active 168-96 CE), whose Shanghan lun [Treatise on Cold Damage] lists 21 multi-herbal decoctions containing ginseng, and Li Dongyuan (1180-1251), whose therapies were widely adapted... More
![Item ID: 9227 Ninjin ko [Study of Ginseng]. Bingjun TANG](https://jonathanahill.cdn.bibliopolis.com/pictures/9227.jpg?width=768&height=1000&fit=bounds&auto=webp&v=1686474009)
17 folding leaves. 8vo, orig. printed wrappers, orig. block-printed title label on upper cover, new stitching. [Japan]: Rekijuen [Ishizaka Sotetsu], first preface, by Sokei Ishizaka, dated 1830.
First edition, a variant issue with a three-page second preface at end and no addenda (our copy agrees with a copy at Kyoto University). Tang was a physician who lived and practiced near Suzhou, a major market for the trade in ginseng. His Ren Shen Kao (Ch.), here in the first edition published in Japan, is a practical guide to the medicinal uses of ginseng and gives valuable insights into the massive trade... More
33 fine brush & ink illus. 33 leaves. 8vo (242 x 164 mm.), later semi-stiff orange-brown wrappers, new stitching. [Japan]: from the final leaf (in trans.): “mid-October 1842. Ushigome juku [a study group], [possessed or copied by] Tsutsui.”
A manuscript copy of the first book to describe the agricultural experiments leading to the successful cultivation of Korean ginseng in Japan. Tamura Ransui (1718-76), official physician to the shogunate, “first succeeded in growing ginseng plants in Japan.”–Federico Marcon, The Knowledge of Nature and the Nature of Knowledge in Early Modern Japan, p. 212. The importation (actually, smuggling) of live seedlings from... More
37 folding leaves. Two parts in one vol. 8vo (242 x 164 mm.), orig. semi-stiff blue wrappers, new stitching. [Japan]: late Edo.
The doctor and botanist Senshun So (1758-1834), was the author of Seikei zusetsu [An Illustrated Book of Agricultural Things], the great agricultural and botanical work issued in the early years of the 19th century. It is an encyclopedic survey of all the agricultural products and practices of Japan. He served the Satsuma fiefdom under the lord Shimazu Shigehide.
So’s writings on ginseng are considered to be amongst his most important and remained in manuscript until 1999. The author... More
![Item ID: 9224 Onkosai Shinshi [Onkosai on Ginseng]. or Shigehiro, pen-name: ONKOSAI](https://jonathanahill.cdn.bibliopolis.com/pictures/9224.jpg?width=768&height=1000&fit=bounds&auto=webp&v=1686474236)
1 p.l., 32 pp.; 1 p.l., 10 pp.; 1 p.l., 5, [1], 7-15 pp. Three parts in one vol. 8vo, orig. wrappers, orig. block-printed title-label on upper cover. From printed label pasted on inside of lower cover (partly in trans.): Aichi Prefecture: Mikawa shiryo kanko kai, printed in 70 copies, 1936.
First edition and a rare provincial printing, limited to 70 copies only. Sato (1762-1848), was a leading honzo scholar and writer on agricultural matters. He advised a number of fiefdoms throughout Japan on modern agricultural techniques. The first two parts of this work print Sato’s hitherto unpublished writings on... More
Ten fine brush & ink drawings in the text. 8.5; 13; 2 folding leaves. Three parts in one vol. 8vo, orig. wrappers, orig. stitching. [Japan]: from final leaf (in trans.): “Spring 1792“; this is a later copy, probably early Meiji.
Sato (1762-1848), a leading honzo scholar and writer on agricultural matters, advised a number of fiefdoms throughout Japan on modern agricultural techniques.
This is a collection of unpublished texts on the cultivation and processing of ginseng. The first part concerns with the various kinds of ginseng (Chinese, Korean, and Japanese), their various names and qualities, where grown, medicinal benefits, how... More
18 folding leaves. 8vo (246 x 167 mm.), orig. wrappers, orig. stitching. [Japan]: Meiji.
This appears to be the text of the notes on ginseng recorded by a disciple of Ranzan Ono. We know that Ono’s final writings were on this herb, composed on his deathbed.
Ranzan Ono (1729-1810), was considered the “Linnaeus of Japan.” He started a school of botanical pharmacology in Kyoto, which, over the years, graduated more than 1000 students. During his long life, Ono travelled throughout Japan, gathering plant specimens and recording botanical remedies. He was familiar with both Chinese and Western texts on herbal medicines... More
1 p.l., 7 pre-printed folding leaves. 8vo (235 x 158 mm.), orig. semi-stiff aubergine wrappers, new stitching. [Japan]: Preface dated 1810; this is a copy made later in the Edo period.
The final work by Ranzan Ono (1729-1810), who was considered the “Linnaeus of Japan.” He started a school of botanical pharmacology in Kyoto, which, over the years, graduated more than 1000 students. During his long life, Ono travelled throughout Japan, gathering plant specimens and recording botanical remedies. He was familiar with both Chinese and Western texts on herbal medicines. Ono’s Honzo komoku keimo [Dictated Compendium of Materia Medica Enlightenment... More
One sheet, folded; three sheets, folded & stapled. Mexico: 1965 & 1970.
Carrión’s signed copies of contracts for his first and second published books. The publisher Ediciones Era reached an agreement for his debut book, La Muerte de Miss O, on 8 October 1965. It was printed in an edition of 1000 copies, with 10 given to Carrión. Per the terms of the contract, the author was to receive 10% of sales in semi-annual installments.
The second contract, with Joaquín Mortiz, a celebrated publisher of genre-defying works, consists of three mimeographed sheets (printed on rectos only), with blanks filled in... More