11 black & white illus.  pp. 8vo, printed wrappers, staple-bound. Houston, Texas: 1975.
A very rare program distributed by Barbara Cusack’s unheralded and short-lived Houston gallery. Cusack (b. 1937) opened the space in 1971, and shortly thereafter began hosting exhibitions by a series of influential Conceptual and Minimalist artists, such as Mangold, LeWitt, Kawara, Buren, Tuttle, Ian Wilson, Darboven, Andre, Dibbets, etc. By 1976, she was forced to close the gallery.
This program contains interesting installation shots of nearly all of the exhibitions that took place in 1974 and 1975 — for Wilson’s there is a facsimile of the signed Discussion. WorldCat has no records...
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11 black & white illus.  pp. 8vo, printed wrappers, staple-bound. Houston, Texas: 1975.
12 black & white illus. pasted on leaves. 32 unnumbered pages. 8vo (214 x 135 mm.), orig. blue cloth over boards (spine sunned), title in gilt on upper cover & spine. [Manchester: The Cloister Press, Ltd., 1943].
An exceedingly rare Epstein exhibition catalogue, signed by the artist; WorldCat records only the BL copy. As explained on the verso of the title-page, 50 percent of sales from this exhibition were to be given to the Merchant Navy Comforts Service. Epstein writes a brief introduction about the works he has selected: “The works in this collection which date from so early as the ‘Marcelle’ 1920 to the Chinese Girl...
Four black & white illus. 7 pp. & ads. Small 4to (144 x 115 mm.), cream printed wrappers, staple-bound. [London: 1933].
An uncommon illustrated exhibition catalogue listing 29 of Epstein’s works in bronze and marble. The show, which took place at the Leicester Galleries, featured busts of Joseph Conrad and Edith Dunn Beatty. Four of the works are reproduced on bound-in plates.
Good copy, staple rusted and as a result, the central bifolium has become loose. Pencil annotations on the upper cover. Only three copies in North America according to WorldCat.
Two illus. Green coated paper with three folds. [Paris: A L’Etoile Scellée, 1954].
A very rare exhibition announcement from A L’Etoile Scellée, the art gallery directed by André Breton. Located on rue du Pré aux Clercs in the 7th arrondissement, the gallery served as an influential center of Surrealism from 1952 to 1956. Thanks to financing by the gallerist Sophie Babet, Breton was able to launch a bold program, inviting young abstract and Surrealist artists.
This invitation, with a checklist of the 24 works exhibited, advertises Falzoni’s (1925-98) solo show. It also features a text by Robert Benayoun, “L’Oasis,”...
Color illus. throughout (some double-page). 74,  p. list of works exhibited. Small 4to (223 x 175 mm.), yellow printed wrappers, title on spine. [From final page]: New York: Trying to Press, 2018.
A rare artist’s book produced in conjunction with Spencer Finch’s 2018 exhibition at James Cohan Gallery; signed on the title-page.
Finch writes: “I have been an avid Emily Dickinson fan for almost 20 years. Her prodigious imagination, her complex and idiosyncratic mastery of language, her ability to connect the natural world and human experience with an elevated and precise mental awareness, all thrill me to my core. She is both a....
Color illus. throughout. 240 pp. Large & thick 4to, blue cloth over boards, orig. illustrated dust-jacket. Munich: DelMonico Books & Prestel, 2016.
A signed copy of the first monograph to survey Finch’s career. Edited by Susan Cross, the book contains essays by curators Mark Godfrey and James Rondeau. The illustrations depict a large number of his works on paper, photography, sculpture, and installations, including a number of Finch’s earliest pieces. His well known installations at the National September 11 Memorial & Museum (Trying to Remember the Color of the Sky on That September Morning), The Morgan Library & Museum (A Certain Slant of Light...
 leaves. Square 4to, semi-stiff printed wrappers, metal spiral-bound. Atlanta: 1994.
A wonderfully designed catalogue for the exhibition held at the Atlanta College of Art Gallery from 28 January to 4 March. The exhibition was engineered by Judith Hoffberg and Peter Frank, two keen observers of the artist’s book’s evolution in the United States. The exhibition consisted of loans from the collections of Printed Matter, Tony Zwicker, Granary Books, Nexus Press, Dick Higgins, etc. Most of this volume is taken up by the curators’ essay, which is inventively laid-out. With a bibliography and checklist at the end. The artists featured included Alatalo...
Illus. on upper wrapper and black & white illus. throughout.  leaves. 12mo, brown printed wrappers, staple-bound. Berlin: 1929.
Uncommon Flechtheim exhibition catalogue for Klee’s second solo show with the gallery. This exhibition had the great misfortune of opening days before Black Thursday when the stock market in America crashed. Nonetheless, with loans from museums and private collections, Flechtheim (1878-1937) assembled a superb array of 150 pictures by Klee. 14 of the paintings are depicted in this catalogue. Flechtheim was one of the most influential German art dealers of the Interwar period. The rise of the Nazis in Germany forced him to liquidate...
1 p.l., 20 pp. Small 8vo (185 x 138 mm.), printed paper wrappers, staple-bound. [Helsingfors: Handelstryckeriet, 1904].
The very scarce catalogue of a selling exhibition organized by Durand-Ruel in Helsinki. The artists featured in this show included Degas, Denis, P. Dubois, Alfred William Finch, Forain, Jeanniot, Constantin Meunier, Monet, Pissarro, Puvis de Chavannes, Renoir, van Rysselberghe, Signac, Sisley, Jacob Smits, Henri Thomas, etc. The title of each picture is printed in French, Finnish, and Swedish. All 69 entries are priced in francs.
Fine copy. We locate only one copy in North America.
Black & white illus. throughout.  leaves. 8vo, printed wrappers, staple-bound. Cologne: 1983.
A very rare Conceptual art exhibition catalogue; in the United States, we locate just one copy, at the Getty, which acquired the Galerie Paul Maenz archive in 1991. From the lower wrapper text: “Today, in late 1983, the exhibition…aims to keep awake the memory of a decisive moment in modern art. At the same time, it pays homage to the gallery’s original and enduring identity. Finally, it should demonstrate to younger viewers what went before this New Painting and created the firm basis from which the latter could spring into...
Black & white illus. Unpaginated. 12mo, printed softcover. Berlin: 1977.
Scarce catalogue for Germany’s DAAD (German Academic Exchange Service) program for artists; edition of 2000 copies. Curator and gallerist René Block (b. 1942) selected Dimitrijevic, Graham, Kawara, and Opalka for the 1976-77 term. Thoroughly illustrated with pictures of artworks and earlier exhibitions. Useful biographies and exhibition histories for each artist. In 1982, Block opened the DAAD-Galerie.
Near fine copy.
Black & white illus. throughout (one folding). Unpaginated. 12mo, printed softcover. Berlin: 1971.
Exhibition catalogue (5-31 March 1971) printed in an edition of 1000 copies. Includes pictures of works by Beuys, Brecht, Darboven, Dibbets, Filliou, Graham, LeWitt, Manzoni, Panamarenko, Palermo, Polke, Richter, Rot, Ruhm, Vautier, Voss, Vostell, etc.
Black & white illus. throughout.  leaves. 12mo, printed wrappers. New York & Berlin: 1976.
One of 1000 copies printed. A profusely illustrated catalogue for the exhibition organized by René Block at his SoHo gallery for the three artists. Each artist with many pictures of their work, short essay, and exhibition history.
Black & white illus. throughout.  leaves. 12mo, beige printed wrappers. Berlin: 1968.
Scarce René Block exhibition catalogue. The exhibition unfolded in two parts, in the United States (“Minimal Art,” 7-30 June) and Germany (“Neue Monumente,” 20 July-16 August). The German leg took place at Block's Berlin gallery, we have not been able to ascertain the American location. It’s possible that two versions of the catalogue were published, our copy does not match the one pictured in René Block, Ich kenne kein Weekend.
Our catalogue pictures work by Andre, Bollinger, Buthe, Darboven, Judd, Kuehn, Laing, LeWitt, Morris, Palermo, Posenenske, and Sandback.
Black & white illus. throughout. 74,  p. 8vo, pictorial wrappers with flaps, stitched. Geneva: 1942.
Rare catalogue for a traveling Swiss exhibition of French painters. The show occurred in the middle of World War II and had stops in Geneva, Zurich, Bern, Luzern, and Basel. Organized by the critic and writer Jacques Guenne (1896-1945) and supported by the Association française d’action artistique, the exhibition presented the work of Valadon, Vuillard, Bonnard, Matisse, Dufy, Derain, de Vlaminck, Braque, Lhote, Utrillo, Tanguy, Lurçat, etc., etc. The painters are divided into thematic categories. A number of pictures are reproduced within the catalogue.
Near fine copy, with a printed invitation mailed by the Kunsthalle Bern to Willi Raeber (1897-1976), a former employee of the museum and by the time of this exhibition an established art dealer. It should be noted that Raeber, vice president of the Swiss dealer association, abetted the Nazi looting of art. Also laid-in is a check-list of paintings removed and added from the Kunsthaus Zurich leg of the exhibition.
24 pp. 8vo (212 x 135 mm.), orig. green printed wrappers, stitched as issued. Autun: Dejussieu & L. Villedey, 1856.
Scarce critical essay on Ingres’s painting Le Martyre de saint Symphorien, which has been housed in the Cathédrale Saint-Lazare d’Autun since 1834. The painting was originally ordered by Roch-Etienne de Vichy, the bishop of Autun, in 1824. Ingres finally completed it in 1834 and selected it for that year’s Salon, where it was received negatively, leading to Ingres never again participating in the event. The anonymous author of this critique provides the historical context for the picture and meticulously describes it. Over the years, despite...
34 pp. 8vo (215 x 136 mm.), orig. pictorial wrappers (corners a trifle worn), staple-bound. [Paris]: Editions des Musées Nationaux, 1951.
The updated French edition of this scarce museum catalogue. The Jeu de Paume was opened in 1947 for the exhibition of Impressionist artworks. Its earliest shows were organized by René Huyghe (1906-97), paintings curator at the Louvre, and one of the figures responsible for the safeguarding of France’s artistic treasures during the German occupation. Huyghe’s assistant curator, Jean Leymarie (1919-2006), edited the present catalogue. It proceeds room by room, updating earlier versions of the catalogue with the new arrangement of pictures.
Several color illus. 63 pp. Small 4to (223 x 169 mm.), pictorial boards, title on spine, pictorial endpapers. Cologne: Kölnischer Kunstverein & Japanisches Kulturinstitut, 1997.
Scarce catalogue for an exhibition jointly organized by the Kölnischer Kunstverein Japanisches Kulturinstitut in Cologne (26 August-8 October 1995). It was published two years after the exhibition took place.
The catalogue contains installation views, a diagram of the exhibition space, and lists of the rotating display of On Kawara’s Date Paintings. Each week the paintings were rotated with new ones. On the facing wall copies of the newspapers which the artist used to construct the boxes for these paintings were...
Black & white illus. 13,  p. Small 8vo, printed wrappers, stitched. Birmingham: Ikon Gallery, 2006.
Uncommon exhibition catalogue for On Kawara’s solo presentation at Ikon Gallery. From the foreword by curator Jonathan Watkins: “This exhibition consists entirely of Date Paintings. They are part of On Kawara’s Today Series, an ongoing project begun in 1966, a series of paintings, each made in a day, bearing the inscribed date on which they were made. Each painting in this selection was made on a Sunday, one selected per year since the inception of the Today Series, thus conveying the idea ironically of On Kawara - perhaps...
Black & white illus. (one double-page). 18 pp. Small 8vo, printed wrappers, staple-bound. Palestine: Alpha Studio, 2007.
The very rare booklet published in conjunction with the Bethlehem leg of Kawara’s traveling exhibition Pure Consciousness which began in Sydney in 1998. For the exhibition, seven “Date Paintings” from the Today series (1966-2013) are displayed in a kindergarten classroom. These paintings have traveled around the world to cities and towns such as Sydney; Tongyeong, South Korea; Reykjavik; Istanbul; Goa; Inari, Finland; Thimphu, Bhutan; Abidjan, Ulaanbaatar; Toliara, Madagascar, etc. The photographs in the booklet focus on the students with the paintings only blurry or in the...
Printed on both sides. Mailed postcard. Berlin: Galerie René Block, 1978.
Rare exhibition invitation for On Kawara’s famous show with René Block. The verso of the postcard mentions the forthcoming publication of I Am Still Alive, a compendium of Kawara’s “Suicide Telegrams.”
In fine condition. Mailed to Susanne Hermanns.
Illus. on recto & text on verso. Pictorial postcard. Düsseldorf: Konrad Fischer Galerie, 1972.
Very rare invitation to On Kawara’s second exhibition with Konrad Fischer; the first, which presented his One Million Years piece, took place the previous year October-November. The postcard illustration captures the artist’s studio, with a row of “Date Paintings” from 1966, the inaugural year of the Today series.
In excellent condition. Unmailed.
 pp. Small folio (297 x 210 mm.), printed pictorial wrappers, staple-bound. Nagoya: Institute of Contemporary Arts, 1989.
An uncommon Kawara exhibition catalogue published by Nagoya’s Institute of Contemporary Arts. Curated by Eriko Osaka, the show consisted of 23 of Kawara’s “Date Paintings” (executed between 7 June 1966 and 24 November 1988) displayed alongside 24 works by other Japanese artists, including Hiroshi Sugimoto, Jiro Takamatsu, Kanji Wakae, Nobuo Sekine, Hitoshi Nomura, Kazuo Okazaki, Ryoji Koie, etc. The latter 24 artworks are all pictured in this catalogue. Text in Japanese.
In near fine condition; minor scuffing to the spine.