Black & white photographic illus. to recto. Pictorial card. Torino: Galleria Sperone, 1969.

Announcement card for Andre’s debut exhibition with Gian Enzo Sperone, bearing a reproduced photograph of the artist preparing for the show. 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. I, p. 140 (pictured) & Vol. II, p. 492. More

[10] typed sheets, printed on both sides. Stapled at head, horizontal median fold. Los Angeles: ca. 1985.

Newsletter published to highlight books on photography. Fine. More

Black & white illus. Single sheet, folded as issued. Düsseldorf: Konrad Fischer, [1968].

Flyer announcing the artist’s only show with Konrad Fischer. The exhibition was organized in cooperation with Galerie Ricke in Cologne. Printed on one side of the flyer is a disorienting photograph of Fischer’s famously narrow gallery, with some of the artist’s blps.

“In June 1968, Artschwager invaded Konrad Fischer’s gallery space on Neubrückstrasse with his blps, which are black, sometimes white, three-dimensional signs made of wood, artificial turf, or horsehair. blps could be found anywhere, jumping out and surprising viewers in the city, on the street, or... More

Many black & white illus. [20] pp. (incl. inside of wrappers & index on lower wrapper. 4to (276 x 213 mm.), orig. printed wrappers. New York: 1977.

The rare second Backworks catalogue; we locate only one copy in North America, at the Museum of Modern Art. Backworks was a New York-based collaboration between Barbara Moore and Jon Hendricks, specializing in documents and artifacts of avant-garde and experimental art. Located at 488 Greenwich Street, the store was active into the early 80s. In 1981, Hendricks left the partnership to become curator of the Fluxus collection formed by Gilbert and Lila Silverman... More

Black & white illus. throughout. [15] leaves & ads. Square 4to, pictorial wrappers, staple-bound. Aachen: 1971.

Rare and early Becher exhibition catalogue; we locate only a handful of copies in North American institutions. Much of the publication features the couple’s photographs. It concludes with brief biographies of the artists, and a list of exhibitions and publications. Near fine. More

Black & white illus. throughout. [24] pp. Tall 8vo, printed wrappers. Arles: Le Méjan/Actes Sud, 1989.

Scarce Christian Boltanski (1944-2021) artist’s book published on the occasion of his exhibition at the Eglise Saint-Martin du Méjan d’Arles (3 July-3 September 1989). From the preface (in trans.): “These images were cut out from a 1972 weekly specialized in criminal news stories; they inexorably present the mixed faces, murderers or victims, of these forgotten dramas."

Fine.

❧ Jennifer Flay, ed., Christian Boltanski — Catalogue: Books, Printed Matter, Ephemera 1966-1991 (1992), pp. 186-87.

Bob Calle, ed., Christian Boltanski: Livres d’Artiste, 1969-2007 (2008), p. 61. More

310 black & white illus., on rectos only. [24] leaves. 8vo (210 x 141 mm.), orig. semi-stiff printed wrappers, perfect-bound. Paris: CNAC, 1974.

First edition, an excellent copy of Boltanski’s fifth inventory, documenting all the earthly possessions of a randomly selected person, this time a resident from Bois-Colombes, a suburb of Paris. This book was published for an exhibition (15 October to 2 December 1974) at the Centre national d’art contemporain. Earlier versions of this piece took place in Baden-Baden, Jerusalem, Oxford, and Copenhagen.

Boltanski explains the intention of this work in the Avant-Propos (in trans.): “The inventory of objects... More

Six black & white folding illus. 41, [1] p. 8vo, printed hardcover, title on spine. Tilburg: 1986 [i.e. 1992].

Catalogue for a group exhibition of landscape art held at the “Land Consolidation Project Weerselo-Dulder”; no example in North America and not recorded in Ruhé’s chronology of Stanley Brouwn. The four artists contributed small and large interventions to parts of this land consolidation area, each work is marked on a map found on the reverse of the folding plates documenting the interventions. There are two illustrations related to Brouwn, one of a work and another of a proposed site for another... More

Color and black & white illus. throughout. [12] leaves. Small 4to, pictorial wrappers, staple-bound. Berlin: Berliner Künstlerprogramm, 1975.

A rare Daniel Buren (b. 1938) exhibition catalogue. This show, supported by the Berliner Künstlerprogramm and Galerie Folker Skulima, was the first time Buren used sails as his canvas for works in situ. A regatta displaying the artist’s sails took place on Wannsee Lake outside of Berlin (20 September 1975). Thereafter, the sails were mounted on the walls of the Akademie der Künste (30 November-7 January 1976). This catalogue is thoroughly illustrated with photographs of the work, with text in parallel German... More

Black & white illus. on recto, details on reverse with printed address label. Photographic postcard, mailed. New York: John Weber Gallery, 1976.

Scarce postcard invitation to Buren’s 1976 solo presentation with John Weber. The postcard’s recto depicts the artist’s subtle interventions in the windows of the gallery at 420 West Broadway. In excellent condition; mailed to Eve Sonneman.

❧ Michael Lailach, ed., Printed Matter: Die Sammlung Marzona in der Kunstbibliothek (2005), p. 104. More

Black & white illus. & color diagrams. 73, [2] pp. 8vo, pictorial softcover, title on spine. Brussels: Daled & Gevaert, 1977.

[with]:

—. Reboundings: an essay by Daniel Buren, followed by 7 plates and 7 diagrams. Black & white illus. & color diagrams. 77, [2] pp. 8vo, pictorial softcover, title on spine. Brussels: Daled & Gevaert, 1977.

The scarce French and English editions of Buren’s polemical text, both printed in editions of 530 copies; both in excellent condition. The artist was driven to write this as a pointed critique of museums and curators five years after the controversy surrounding his contribution to... More

Many black & white illus. Unpaginated. Square 4to, white softcover (spine a bit creased). Paris: ARC, Musée d’art moderne de la ville de Paris, 1983.

Scarce artist’s book/exhibition catalogue Byars’ 1983 exhibition in Paris. The show was curated by Suzanne Pagé and Béatrice Parent. Near fine. More