Overlapping Theories on Art, Design, & Concrete Poetry

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overlapping theories on art, design, & concrete poetry. catalog no. one no. one catalog no. one

hello.

Welcome to catalog no. one — our first, featuring a sampling of material in the overlapping fields of art, design, & concrete poetry. We’re excited beyond belief to be able to launch the catalog jointly with our colleagues Adam and Kate Davis at Division Leap. Please visit our website at theideaofthebook.com for more information about these items, or email us at [email protected] with questions. Sincerely,

Fredrik Averin Proprietor

3 catalog no. one

1. Lawrence Weiner, Dieter Schwartz 2. Adrian Frutiger, Bruno Pfäffli

3. Hansjörg Mayer, ed. 4. Warja Honegger-Lavater

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1. A suite of four items relating to ‘Lawrence Univers typography set by Pfäffli. An iconic example of Weiner, Books 1968 — 1989: Catalog Raisonné’ Swiss design. Lawrence Weiner, Dieter Schwartz Wear to glassine wrappers at crown and heel of spine Köln: Walther König, 1989. Large 4to hardcover with a and some age toning, else fine. Very good slipcase with blue linen spine and paper-covered red boards a two-inch tear at top and a small tide mark on back. with black lettering inside an offset printed dust jacket. $250.00 206 pp. To which is added a die cut and folded poster 59.5 x 84 cm (23.4 x 33") in size printed in three colors 3. Sammelband Futura 1 Bis 13, Sammelband on glossy stock on recto, a die cut 14.8 x 10.5 cm Futura 14 Bis 26 (5.9 x 4.125") announcement card offset printed in Hansjörg Mayer, ed. color on card stock on recto, and a 14.2 x 10.5 cm Stuttgart: Edition Hansjörg Mayer, 1968. Two 16 x 24 cm (5.6 x 4.125") invitation card offset printed on recto. (6.3 x 9.45") card stock sleeves letterpressed in black Text in German, English, and French. each containing thirteen folded letterpressed and offset A suite of four items relating to Weiner’s catalog raisonné printed broadsides measuring 16 x 24 cm folded, surveying his artists’ books and catalogs created 1968 64 x 48 cm unfolded (6.3 x 9.45” folded, 25.2 x 18.9" — 1989. Weiner’s writings, philosophies, and ideas are unfolded). Text in English, French, German, and Japanese. eloquently expressed through typography often relying A complete two-volume set of twenty-six broadsides (one on upper case Franklin Gothic and similar bold fonts. for every letter of the alphabet) with each issue devoted This is designed art in the highest regard. The dust jacket, to an individual concrete poet, artist, or writer. Edited and poster, and announcement card feature the phrases published 1965 – 1968 by Hansjörg Mayer, this iconic “Books do furnish a room” and “Learn to read art”– both broadside series rooted in the lowercase font Futura, is powerful reminders of the importance of books and art, a seminal publication as it relates to concrete and visual and the role they play in our lives. poetry, typography, printmaking, and conceptual art. Dust jacket with trace amounts of rubbing to spine in Vol. 1 — 1. Mathias Goeritz: Die goldene botschaft, three places, including a 14 cm (5.5") surface scratch 1965; 2. Klaus Burkhardt: Coldtypestructure, 1965; on back. A near fine example of the book with a touch 3. Max Bense: Tallose Berge, 1965; 4. Reinhard Döhl: of soiling to top edge of text block and light bumps 4 Texte, 1965; 5. Louis Zukofsky: “a” — 9, 1966; 6. to lower tips. Very good example of the poster which Bohumila Grögerova/Josef Hirsal: Job boj, 1966; 7. is folded three times (likely as issued) showing trace Ian Hamilton Finlay: 5 poems, 1966; 8. Claus Bremer: amounts of toning and rubbing along fold lines. A fine Engagierende texte, 1966; 9. Augusto de Campos: Luxo example of the announcement card fine. Invitation very lixo, 1966; 10. Edward Lucie Smith: Cloud sun fountain good with a relief along the top edge from at one point statue, 1966; 11. Dieter Rot: Zum laut lesen, 1966; 12. being paper clipped to something else. Emmett Williams: Rotapoems, 1966; 13. Frieder Nake: $1,250.00 Computergrafik, 1966

2. Genesis: Im Anfang / Au commencement / Vol. 2 — 14. Carlo Belloli: Sole solo, 1966; 15. Jonathan In the beginning Williams: Polycotyledonous poems, 1967; 16. Hiro Adrian Frutiger, Bruno Pfäffli Kamimura: 5 vokaltexte, 1967; 17. Wolfgang Schmidt: Sl6köpfig, 1967; 18. Pierre Garnier: Six odes concretesa Zürich: Castella, Albevue, and Flamberg, 1969. la picardie, 1967; 19. Bob Cobbing: Chamber Music, Edition of 400. Square 4to softcover in printed wraps 1967; 20. Edwin Morgan: Emergent Poems, 1967; 21. Dick with French fold binding printed in color and black and Higgins: January Fish, 1967; 22. Wolf Vostell: De coll age white, with several two and four-page gatefolds printed aktionstext, 1967; 23. Herman de Vries: Permutierbarer in red and blue. Unpaginated. Book housed in glassine text, 1967; 24. Peter Schmidt: Programmed square 11, wrappers (as issued) and housed inside original white 1968; 25. Andre Thomkins: palindrome, 1968; 26. Robert cardboard slipcase alongside an announcement flyer. Filliou: Galerie legitime, 1968 Text in German, French, English, and Hebrew. Both card stock sleeve portfolios show trace amounts of A modern visual interpretation of the first book of the rubbing and minor surface creasing to margins with two bible where Frutiger weaves his way through color, minor closed 5 mm tears at the head and foot of Vol. 2. form, and typography in four languages with an The twenty-six broadsides with light age toning and trace impeccable rhythm. This book features some of Frutiger’s amounts of rubbing to back of issue no. 13, else fine. more remarkable abstract illustrations juxtaposed with $2,500.00

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5. Robert Lax, Emil Antonucci (design) 6. Henri Chopin, Serge Béguier, Antonio Berni, Gianni Bertini, et al.

7. Ferdinand Kriwet 8. António Aragão, E. M. de Melo e Castro, Herberto Helder, eds.

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4. Folded Story 13: Homo Sapiens? stock wrappers. Unpaginated (ca. 30 pp.) Text in Warja Honegger-Lavater French and Italian. Basel/Stuttgart: Verlag von der Basilius Presse, 1965. A small program containing concrete poetry and artwork Leporello bound 16mo printed on card stock pasted into for an imagined art festival that never actually took two laminated orange covers, one at each each end and place. Organized by Chopin, Béguier, Berni, Bertini, measures 215 cm (84") when unfolded. Panels feature Blaine, and et Wolman, with supposed contributions and a lithograph illustration printed on recto side only in performances by Brion Gysin, Dom Sylvester Houédard, black, blue, yellow, red, purple, green, brown, and blue. and Gil Wolman, the festival’s intent was to poke fun at Text in French and German. the arrogance and standards of the art world and push A visually complex and powerful artists’ book by against materialism. In turn, the imagination of the festival Honegger-Lavater where she explores the evolution of itself ‘was’ the artwork, making the point that conception mankind in the vernacular of a map complete with a of ideas is the root of all art. A playful and beguiling hidden legend on the inside left flap. The book can be book as it relates to art and concrete poetry. read by turning the pages, or as a single long horizontal Trace amounts of rubbing and foxing to covers including panel. Much like in her other work, Honegger-Lavater age toning and bumps to corners, else near fine. uses icons and symbols to replace language, thus $250.00 completely altering the reading process. Through a carefully organized layout and organic illustrations, 7. Stars, Lexikon in 3 Bänden: Band 1 / A — H, and much like on a map, the reader deciphers the Band 2 / I — Q, Band 3 / R — Z (Complete) narrative by referencing the legend. A remarkably rich Ferdinand Kriwet and rewarding experience. Köln, Berlin: Verlag Kiepenheuer & Witsch, 1971. First Honegger-Lavater was originally trained as a graphic edition. Three softcover 8vos in letterpressed wraps, designer – a skill that clearly comes across in her artwork. with silver foil stamping on front of covers. Unpaginated Along with Ed Ruscha and Dieter Rot, she’s one of the (ca. 128 pp., 144 pp., and 144 pp.) earliest artists’ bookmakers. Furthermore, she’s one of A set of three artists’ books featuring a deluge of the earliest women artists’ bookmakers. appropriated and manipulated images, a few of which Overall age toning throughout with trace amounts include Dürer’s painting of Adam and Eve, Ave Maria of rubbing and scuffing to boards, else fine. sheet music, Batman, baseball, congress, James Dean, $250.00 Garbo, street signs from Germany, the Eifel tower, the Onassis family, portraits of Jesus, Rolling Stones, 5. A-ble Char-lie Bak-er Dance Cadillacs, commercial airplanes, the 1968 Mexico Robert Lax, Emil Antonucci (design) Olympics, Marilyn Monroe, the bust of Nefertiti, Barbara East Markham, Nottinghamshire: Tarasque Press, 1971. Streisand winning her Oscar, bullets in various calibers, Edition of 250. Saddle-stapled 8vo printed on heavy repeating images of tires, details of handguns, Frank card stock. Unpaginated (12 pp.) Sinatra, Super Boy, watches, recording equipment, Andy Warhol, X-15 fighter planes, currency, zeppelins, A stunning work of concrete poetry by Lax illustrated cigarettes, and images of teeth. with abstract geometric artwork by Antonucci who also designed the book. An extremely intimate and Kriwet’s powerful visual narrative walks a delicate line collaborative artists’ book between these two unlike between awareness, fascination, obsession, and critique anything we’ve ever seen. of western media. Together the three books, organized from a — z, feel more like a movie questioning the Very good with trace amounts of rubbing to covers direction of western culture. A complete volume that feels including some light foxing, and rusted staples of which remarkably relevant today given how little has actually the bottom one has bleed through to the front cover. changed since 1971. Perhaps that was the intent. $300.00 The covers were designed by Hannes Jähn who worked for nearly fifty different publishers in Germany between 6. Festival de Fort Boyard, 1967 the1950’s and 1980’s. Henri Chopin, Serge Béguier, Antonio Berni, Gianni Bertini, Julien Blaine, Nikos et Wolman, et al. Light age toning and rubbing to covers and a reading crease on the spine of second volume, else fine. Torino: Edizione il punto, 1970. Edition of 1,000, of which this is no. 0756. Small 8vo in printed card $450.00

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8. Cadernos de hoje: Poesia Experimental No. 3 — Flavo Ermini, Steve McCaffery, Magnus No. 2 (Complete) Hedlund, Dick Higgins, Jochen Gerz, Ted Berrigan, António Aragão, E. M. de Melo e Castro, Herberto Adriano Spatola, Susanne Hahn, et al. Helder, eds., Jorge Peixinho, Álvaro Neto, Ana No. 4 — Michael Andre, Marcello Angioni, John Cage, Hatherly, António Barahona da Fonseca, Edgard Franco Beltrametti, Mara Cini, Brion Gysin, Dick Higgins, Braga, Emílio Villa, Haroldo de Campos, Henri Harry Hoogstraten, David Weiss, et al. Chopin, Ian Hamilton Finlay, José Alberto Marques, Luiza Neto Jorge, Mike Weaver, Mário Diácono, No. 5 — Diether Roth, Marcello Angioni, Adriano Pedro Xisto, Pierre Garnier, Salette Tavares Spatola, Tom Raworth, bpNichols, Milli Graffi, Julien Blaine, Dick Higgins, Giuliano della Casa, The Tinklers, Lisboa: Edições do Autor, 1966. Narrow 4to et al.ed. cardboard folder silkscreened in orange, black, and silver containing thirteen sheets letter pressed in All issues very good, with sunning to spine and top edge black and white and folded into thirds, a title card letter of cover and the usual overall age toning throughout on pressed in black on verso with a list of participating issue no. 1. Trace amounts of rubbing to cover, a bump artists thermography printed in dark gray on recto, to crown of spine, and light age toning to pages on issue and a 16-page booklet offset printed in black and no. 2. Trace amounts of rubbing to covers including white with two gatefold spreads. ghosting (from another book) on back cover of issue no. 3. Bump to bottom right tip of issue no. 4. Trace amounts An early and remarkable gathering of concrete poetry of rubbing to covers including a small stain on the front, featuring stunning works by several Brazilian, Portuguese, age toning to pages, and rusted staples on issue no. 5. and British artists including de Augusto de Campos, Henri Chopin, and Pedro Xisto. Two of the more notable $800.00 pieces are by the women artists Luiza Neto Jorge and 10. La poesia visiva e il presente-futuro / Ana Hatherly. A complete second issue of this rare Visual poetry and the present — future publication, of which there were only two published. Eugenio Miccini, Michele Perfetti Light age toning to folded sheets and booklet Firenze / Belgrade: Edizioni di Techne “quaderno” 18, including trace amounts of foxing to recto side 1971. Stab-stapled square 8vo in printed wrappers of title card, else fine. Folder very good with bumps with alternating light pink and yellow pages. and chipping to margins. Unpaginated (ca. 32 pp.) Text in alternating pages of $1,250.00 Italian and English. With publisher’s original belly band.

9. Abracadabra Nos. 1 — 5 (Complete) Divided up into eight chapters, this essay published in Marcello Angioni, Franco Beltrametti, 1971, provides an extensive academic philosophy on Harry Hoogstraten, eds. visual poetry as it relates to its origin, the development of language, the general arts, aesthetics, the avant-garde, Luxembourg: Abracadabra & Authors, 1977 — 1981. and its historical context. With references to McLuhan’s Softcover 8vos in saddle-stapled wraps, offset printed ‘The Medium is the Massage’ and the philosophies of in black and white. Unpaginated. Text mostly in English, Burroughs, Miccini and Perfetti make a convincing case with some in French, Italian, and Dutch. for the future of visual poetry as a means to affect society, A complete run of this seminal Italian publication art, and culture. published in Luxembourg featuring a cross pollination “Visual poetry does not hide away in monasteries of some of the best experimental poetry, concrete while war rages, nor does it pass into the enemy poetry, poetry, essays, collages, and art from Europe ranks; visual poetry is the hidden horse of Troy.” and the Americas. Issued as a supplement to ‘Techne, nº 7/8, — Nov. 1970’. A sampling of contributors in each issue include: Very good with wear and darkening to spine, including a No. 1 — Philip Whalen, Joe Brainard, Anne Waldman, small closed tear near top staple, trace amounts of foxing Julien Blaine, Michael Gibbs, Franco Beltrametti, Adriano to front cover, and age toning throughout. Belly band is Spatola, Harry Hoogstraten, et al. torn at one end, but still attached at opposing end, thus No. 2 — Leo van der Zalm, Steve Lacy, Milli Graffi, Anne good only. Waldman, Julien Blaine, Carl Weissner, Susanne Hahn, $300.00 John Giorno, Markuz Raetz, Charles Plymell, et al.

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9. Marcello Angioni, Franco Beltrametti, Harry Hoogstraten, eds. 10. Eugenio Miccini, Michele Perfetti

11. Eugen Gomringer, cur. 12. Robert Barry

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11. visuelle poesie: ideogramme, Light yellowing to covers, else fine. konstellationen, dialektgedichte, $250.00 palindrome, typogramme, pictogramme Eugen Gomringer, cur., Friedrich Achleitner, 13. publikaties van de en werk van / publikationen Claus Bremer, Klaus Burkhardt, Reinhard Döhl, der und arbeiten von / publications by and Heinz Gappmayr, Helmut Hessenbüttel, Ernst Janda, works by edition hansjörg mayer Ferdinand Kriwet, Kurt Martin, Franz Mon, Hansjörg Hansjörg Mayer Mayer, Dieter Rot, Gerhard Rühm, Konrad Balder (Stuttgart): Edition Hansjörg Mayer, 1968. Small Shcäufflen, Daniel Spoerri, André Thomkins, Timm 4to in printed softcover wraps with French fold Ulrichs, Wolf Wezel, Oswald Wiener, with essays signatures printed in black and white with four chapter by F. T. Marinetti, Öyvind Fahlström, Max Bense, dividers printed in color. 194 pp. Text in Dutch, Eugen Gomringer, and Franz Mon German, and English. Hamburg: Haus Deutscher Ring, 1972. Small softcover Published on the occasion of a 1968 exhibition at 4to in black, orange, and silver printed wrappers. the Haags Gemeentemuseum in the Netherlands, 18 pp. To which is added a twice folded A4-sized this catalog features some of the most iconic and exhibition flyer printed in black, orange, and silver on recognizable concrete poetry of the 1960’s. Organized recto, and black on verso, alongside a 21 x 10.5 cm into four sections, the first chapter features an introductory (8.26 x 4.125") invitation card printed in black, orange, essay on the history and Mayer’s personal philosophy on and silver on recto only. Text in German. concrete poetry written by Hans Locher and Kees Broos. A beautiful exhibition catalog and two pieces of The second chapter features details of publications by ephemera set in all lower case Helvetica designed by Edition Hansjörg Mayer including the Futura broadside Gomringer himself. This exhibit featured some of the most series and Emmett Williams’s Sweethearts. The third active and influential concrete and visual poets of the features individual contributions from Haroldo de 1960’s and 1970’s and specifically examined the various Campos, Emmett Williams, George Brecht, Robert Filliou, categories of concrete poetry as it relates to ideograms, Franz Mon, Herman de Vries, Diter Rot, and Reinhard constellations, dialect poems, palindromes, typograms, Döhl to name a few. And appropriately, the fourth and and pictograms. Complete with essays by Gomringer, last chapter features Mayer’s own artwork dating back Bense, and Mon including notes from Marinetti’s to 1961. An extremely comprehensive and thoughtfully ‘Destruction of Syntax’ from 1913, and Fahlström’s produced catalog which feels more like an artists’ book. ‘Manifesto for Concrete Poetry’ from 1953 for added A very good example with age toning throughout, historical context. darkening to text block, and the usual light curling to front A very good example of the catalog with light age and back cover including trace amounts of soiling. toning, two small surface scratches to front cover, light $200.00 chipping to spine, and bumps to corners. Exhibition flyer and invitation card also very good with light age toning, 14. Twenty-eight pieces of mail art, appropriated handling creases, and bumps to corners. ephemera, and documents $120.00 Peter van Beveren, Woody van Amen, Endre Tót Np: ca. 1973 — 1976. Twenty offset printed and 12. It is … it isn’t … appropriated postcards in various sizes, to which is Robert Barry added one index card with an affixed 35 mm slide, one Paris: Yvon Lambert, 1972. 8vo in white softcover piece of orange fabric inside an envelope, six A4 sheets wraps printed in black and white. Unpaginated. including one smaller sheet folded twice for mailing, A conceptual artists’ book consisting of two halves, and one appropriated and folded alcohol circular with where the first half explores adjectives that may be, a printed address label, all housed inside three brown and the second adjectives that may not be. The paper envelopes. Two items signed by van Beveren and minimalistic layout, typeset in Helvetica, features van Amen respectively and two examples are numbered. a single adjective followed by a comma centered Text in English, Dutch, and French. in the middle of the page creating a delicate rhythm A collection of printed, rubber-stamped, and handwritten that carries the reader from beginning to end. mail art from one of the more prolific European mail artists Very reminiscent of Bernardo Salcedo ‘what is it ? dealing with concepts and ideas around the purpose qué es ?’ published a year earlier in 1971. and influence of art, happenings, and related constructs.

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13. Hansjörg Mayer 14. Peter van Beveren, Woody van Amen, Endre Tót

15. Jochn Gerz 16. Jochn Gerz

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17. Hans Clavin (signed) 18. Andy Warhol

19. Gianni Bertini 20. Piero Heliczer

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At times serious and other times absurd, the strength of concrete poetry of its time. The added variation in the use van Beveren’s work is how much he accomplishes using of color makes each spread feel unique, yet it all holds so little. Each piece conceptually stands on its own, and together as a singular story. It’s clear that this book is as together they create a larger narrative regarding the much about the connection between art, typography, and place of mail art in the 1970’s. Also included, but not design, as it is about a man, woman, and relationships. counted against the twenty-eight pieces, are two Dutch Very good with a slightly cocked spine, darkening newspaper clippings about the artists. around edges, and a few bumps to the corners. Most examples have been mailed and therefore show $150.00 usual wear but remain in very good condition with age toning to a few of the documents, bumps to corners 18. Andy Warhol including strong fold marks to one of the postcards, and Andy Warhol, Kasper König, Pontus Hultén, tide marks to three of the postcards and sheets. Olle Granath, eds. $250.00 Stockholm: Moderna Museet, 1968. Softcover 4to in illustrated wrappers with pages offset printed on 15. Play-Texts 1 newsprint in black and white. Unpaginated (ca. 620 pp.) Jochen Gerz Text in English and Swedish. Paris: Agentzia, 1968. Sealed 21.5 x 27 cm (8.5 x10.6") A handsome and conceptual catalog often referred to as vinyl sleeve printed in one color containing loose black the ‘Stockholm Catalogue’ published on the occasion of vinyl letters. Text in German. Andy Warhol’s first European solo exhibition at Moderna A concrete poetry multiple in the form of a sealed Museet in Stockholm, February — March, 1968. It opens vinyl bag containing small moveable black letters with several quotes by Warhol which is followed by and a printed poem that explores the vastness of hundreds of black and white photographs of artwork, the barren desert. the Factory, celebrities, New York, and collaborators. Some toning to plastic, else fine. Contributing photographers include Rudolph Burckhardt, Eric Pollitzer, John D. Schiff, Billy Name, and some of the $100.00 earliest work by Stephen Shore, who first met Andy when he was only seventeen. 16. Play-Texts 2 Jochen Gerz, Nannucci Maurizio One of the more distinguished exhibition catalogs that feels more like an artists’ book on account of its creative Paris: Agentzia, 1968. Sealed 21.5 x 22.2 cm (8.5 x execution by the Swedish designer John Melin, who 8.75") vinyl sleeve containing die cut paper disc printed over the course of his career worked closely with in one color and loose black vinyl letters. Moderna Museet on several exhibitions and projects A concrete poetry multiple in the form of a sealed vinyl including their corporate identity. bag containing small moveable black letters that explores Ref. Parr / Badger: ‘The Photobook: A History Volume II’, the fluidity of time. A handsome and poetic collaboration pp. 144 — 145 (open book 238 — 239). between these two artists. Very good with trace amounts of rubbing to covers and Some toning to plastic, else fine. edge wear around extremities including two minor tears $100.00 at heel of spine, some folding to tips of first five pages of the text block, and the usual age toning throughout 17. L’Angerie. Visuële Poëzie. (signed) (on account of the newsprint). Near fine. Hans Clavin $500.00 Amsterdam: De Bezige Bij, 1973. Softcover 8vo in printed green wraps with glassine endpapers. Inside pages offset 19. Comunicazioni interdisciplinari. printed in red, brown, green, and yellow with tipped in Gianni Bertini strings of yarn on one page, and a double-edged razor Milano: Milano, Edizioni Castelli & Rosati, 1972. blade sealed in wax paper on another. Unpaginated. Edition of 1,200. Horizontal 4to in maroon wrappers Text in Dutch. Inscribed and signed by the artist. printed in white with interior pages offset printed A profusely illustrated artists’ book in which Clavin in green. Unpaginated. Text in Italian. playfully alters between collage, typography, illustration, A photographic artists’ book documenting Bertini’s 1971 and photography to create some of the most memorable exhibition at Studio Santandrea in Milano. The show

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21. Lawrence Weiner 22. Hansjörg Mayer

23. Robert Filliou 24. Mirella Bentivoglio, et al.

14 catalog no. one was organized as a mean to clarify his painting process with four black and white stills by Larry Williams and and consisted of three projectors filling the gallery AZW (Alice Weiner). walls from floor to ceiling with images of advertisements, Ref. Schwarz, Dieter: ‘Lawrence Weiner, Books 1968 — airplanes, car crashes, motorcycles, and women 1989: Catalog Raisonné’, pp. 37. interspersed with large typographic texts which would sometimes extend onto the ceiling. A handsome Very good with rubbing to covers, small amounts of documentation of Bertini, his process, and his passions. chipping at top right corner of dust jacket, and sunning to spine and bottom edge of back cover. Light sunning to spine which extends 4 cm (1.5") onto the front cover, with the slightly oversized covers wraps $150.00 have folded inward toward the text block creating a 22. typoaktionen few small nicks and closed tears, and trace amounts of Hansjörg Mayer age toning throughout, else fine. Frankfurt: typosverlag, 1967. Edition of 500, of which $450.00 this is no. 32. Horizontal leporello bound 8vo 20. The Soap Opera consisting of fourteen panels letter pressed in black. Piero Heliczer Signed by the artist. Text in German. London: Trigram Press, 1967. Edition of 500. An artists’ book with groupings of small letterforms Wide hardcover 4to bound in purple cloth boards with that build in layers from panel to panel, finally reaching blue cloth spine, and a silver foil stamped cover inside a critical mass of black. An exploration in poetry dust jacket printed in red and black on red paper. using letterforms handsomely set in Futura, like most Pages printed in black, with light green, red, and of Mayer’s work. yellow accents. 40 pp. Very good with trace amounts of darkening and Heliczer’s poetry is here paired with handsome images soiling including light foxing to outside covers and by Paul Vaughan, Robert Harding Brown, Augusto age toning throughout. Genina, Ferro, Wallace Berman, Jean-Jacques Lebel, $220.00 Jack Smith, Andy Warhol, and Harold Chapman. An intriguing gathering of luminaries from the late 1960’s 23. Petite histoire un peu sainte that only Heliczer could pull together. The book Robert Filliou eloquently ends with a printed dedication and portrait Edition of 500. 6 x 6 cm (2.36 x 2.36") round book of the artist reaching toward the camera. This is one of bound with a brass ring. Unpaginated (ca. 100 pp). Trigram’s most beautiful books and has somewhat of a Text in French. cinematic feel to it, which given Heliczer’s background An inventive small round book of poetry by Filliou which makes absolute sense. straddles the line between artists’ books and Fluxus. Very good dust jacket with sunning to spine and a Published by Robert Morel. half-inch closed tear at the top on the front, two small Trace amounts of chipping to blue ink along extremities quarter-inch closed tears at the top of the back, and a of front cover, else fine. small chip missing at the bottom of spine. Discoloration around margins of the endpapers of the book, else fine. $150.00 $250.00 24. Arti visive. Poesia visiva. / Visual Poetry by Women, an International Exhibition in Venice 21. Towards a Reasonable End / Mirella Bentivoglio, Annalisa Alloatti, Irma Blank, Auf ein vernünftiges Ende zu Paul Claire, Lia Drei, Ulrike Eberle, Anna Esposito, Lawrence Weiner Amelia Etlinger, Gisela Frankenberg, Ilse Garnier, Bremerhaven: Kabinett für aktuelle Kunst in cooperation Boumila Grogerova, Ana Hatherly, Annalies with Berliner Künstlerprogramm des DAAD, 1975. Klophaus, Liliana Landi, Giulia Niccolai, Anna Edition of 700. Small softcover 8vo in affixed pink Oberto, Anezia Pacheco e Chaves, Marguerite pictorial dust jacket (as issued). Unpaginated Pinney, Betty Radin, Giovanna Sandri, Mira (ca. 70 pp.) Text in English with a German translation. Schendel, Mary Ellen Solt, Chima Sunada, Salette A dos-à-dos bound artists’ book in which Weiner’s text Tavares, Biljana Tomic, Patrizia Vicinelli reads in English from one side and in German from Roma: Studio d’Arte Contemporanea, 1976. 22 x 16 cm opposing side. Translation by Jürgen Wesseler. Illustrated (8.7 x 6.3") folded card stock portfolio containing

15 catalog no. one nineteen loose cards printed in black and white on in black ink on white paper. Endpapers and six recto and verso with blue ink to one card, alongside random pages throughout are printed in red ink on a smaller postcard, an introductory essay, a list of yellow paper. Unpaginated. participating artists, and an English translation which A whimsical artists’ book depicting the same line art is larger and folded in half (likely as issued). Text in portrait of a face with its features getting filled in over Italian, some English. fifty different ways. It’s somewhat unclear if the portrait A gathering of artists’ cards documenting visual and is of a man or a woman which only adds intrigue much concrete poetry all created by women from Italy, like the single letter title. A very unlike yet Depew-like England, Germany, United States, Czechoslovakia, book at the same time. Portugal, Canada, and Japan. Organized by Bentivoglio, Very good with rubbing to covers and sunning to spine. this multiyear exhibit which traveled form city to city throughout Italy starting in 1972, showcases some of $40.00 the most prolific and important concrete poets such as 27. 21. Marts / March 21 Solt, Hatherly, Tavares, and also Bentivoglio herself. Stig Brøgger A truly remarkable example which also comes with an English translation providing historical background. Copenhagen: Jysk Kunstgalerie, 1970. Second edition of 500 (the first 1969 being 3). Square 8vo An incomplete example with only nineteen of the printed in black and white. Unpaginated. Minimal twenty-six cards present. Lacking are those of Claire, text in Danish and English. Frankenberg, Garnier, Grogerova, Schendel, Tomic, and Vicinelli. Light rubbing, age toning, and some foxing to An alluring photographic artists’ book featuring portraits card stock portfolio, else very good. Contents very good of a woman outside in the snow. The locations of the with light age toning to cards, introduction, essays, and images range from the city to the forest and in some list of artists, including a small nick to bottom right tip. of them the woman is lying face down in the snow. A few of the photographs are repeated, as is the title $100.00 page with the words ‘21. Marts / March 21’ creating 25. And Then There Were None an intriguing chapter divider effect. A very intimate and Channa Horwitz at times dark Scandinavian artists’ book with a printed dedication to Mariann. Van Nuys: Grafix Artist Press, 1978. Small horizontal 16mo offset printed in black and white on rectos only. Near fine with trace amounrs of rubbing to covers. Unpaginated. $150.00 An artists’ book which explores the possibilities of an 28. Compendium for Literates: A System of Writing eight-by-eight grid in the form of a flip book. Beginning Karl Gerstner, Dennis Q. Stephenson (translation) with the bottom eight squares filled in black, the left-most square moves up and down its row from page to page Cambridge: MIT Press, 1974. First U.S. edition. Square until it falls off. The subsequent rows repeat this action hardcover 8vo in black cloth covers with white lettering until all eight of the squares have fallen off leaving inside printed dust jacket. Text block is offset printed only a white page. Flipping through this book is a in black and white and color with French fold binding. joyful experience that is hard to do just once. Much Unpaginated. like Horwitz’ other work, this is as much about systems, The first English translation of this seminal philosophy math, and the fascination with the number eight as on writing, design, and systems which was originally it is about creating a book that breathes. A rare and published 1972 in German. Efficiently organized into important artists’ book by this conceptual artist. five chapters, the typographic layout of the book is Very good with shelf wear and light soiling to covers, set sideways creating a unique experience as it’s read age toning throughout, and a cocked spine as a result from top to bottom with the gutter dividing the page of being flipped through. in half. Gerstner’s fascination and obsession with systems clearly shines through in this thoughtful book $400.00 exploring theories surrounding the design of language 26. L. and syntax as a means to create more efficient ways Wally Depew of communication. Some of the parameters presented herein specifically relate to the ‘coming of electronically Livermore: PN Books, 1976. 8vo softcover in printed controlled, or computer controlled typography.’ The gray wraps with inside pages printed on rectos only

16 catalog no. one

25. Channa Horwitz 26. Wally Depew

27. Stig Brøgger 28. Karl Gerstner

17 catalog no. one

29. Ferdinand Kriwet 30. Heinz Brand

31. Eugenio Carmi, Cathy Berberian, Umberto Eco 32. John Baldessari

18 catalog no. one overall design is unmistakably Swiss and set in Univers stock wrappers with a 4 mm die cut hole at center. (designed by Adrian Frutiger). This is an academic lesson Unpaginated (16 pp.) Text in German. in typography and graphic design still relevant today. A conceptual artists’ book with a German title that Highly recommended for any typographer or designer. translates into ‘Empty Thought’ in which a die cut hole Gerstner believed in the philosophy that typography has been drilled through an entire book of blank pages. could be a more effective tool if used in a more informed An elegant experience that strikes a perfect balance manner creating a connection between the word and the between thought and interaction. meaning. A philosophy also shared by concrete poets. Rare. A firm believer in the grid and systems surrounding design and visual problem solving, Gerstner’s work lives on today Darkening along spine and extremities including as some of the most iconic Swiss design ever created. trace amounts of rubbing, else near fine. Some light tide markings to the top edge of the text block $150.00 and some rubbing and wear to the margins of dust jacket, 31. Stripsody else near fine. Eugenio Carmi, Cathy Berberian, Umberto Eco $250.00 Roma/Houston: Arco d’Alibert edizioni d’arte & 29. Apollo Amerika Kiko Galleries, 1966. First edition. 4to in printed red Ferdinand Kriwet hardcovers with red cloth strip spine, a white die cut circle pasted onto the cover, and French fold binding. Np: Edition Suhrkamp, 1969. 8vo softcover offset Unpaginated. Inside front and rear covers features two printed in black and white in printed and laminated tipped in green envelopes, the first of which contains a 7" wrappers, with yellow printed dust jacket. Unpaginated. vinyl record of the performance and a fly sheet denoting An artists’ book created by Kriwet while in America the first time it was preformed, and the second containing documenting the 8 days, 3 hours, 18 minutes, and 35 a folded four-page glossary defining the words used second moon launch of Apollo 11 in 1969. Profusely in the performance. Inside left cover also features a illustrated, this day-by-day journal contains texts, handwritten inscription in English and Japanese with newspaper articles, travel forms, photographs, sounds, a date and signature in black ink that reads ‘Happy advertisements, illustrations, diagrams, concrete poems, Birthday To Max!!’, alongside ‘Dec. 10, 1978’ by the collages, radio transmissions, and television footage Japanese sculptor Masaru Takiguchi. all relating to the Apollo moon project. Part comment A colorful and remarkable piece of sound poetry where on American culture and media, and part artists’ book, Berberian performs a list of onomatopoetic words Kriwet obliterates the boundaries between, sight, sound, borrowed from comic books. The book opens with a and culture of the late 1960’s. Reading this book is thoughtful and manifesto-like introduction by Umberto information overload, but in a very controlled way. The Eco. From there, the varied use of color, typography, and dos-à-dos binding further underscores the barrage that supporting design elements making each spread unique is American media, creating two distinct yet overlapping to further illustrate the sounds they’re attempting narratives surrounding this historic event. Somewhat to create. Berberian’s performance is also captured reminiscent of Marshall McLuhan’s 1967 book ‘The on the accompanying 7" vinyl record. An intimate Medium is the Massage’, but more artful and poetic walk between sound and concrete poetry that delivers in its execution. eloquently on both art forms. Very good with age toning throughout including cover Very good with signs of wear to the front cover including lamination beginning to detach from top, bottom, and light sunning to top edge and a single small stain. Back spine as well as reading creases. Dust jacket also very cover has three small stains. The cloth binding has dried good with trace amounts of rubbing and two crease and weakened with age, but remains intact. Inside pages marks along the top and bottom margins. bright and clean. The green envelope on the inside left $120.00 cover with the vinyl record has begin to split along the seams on account of the sharp edges of the record. Vinyl 30. Leerer Gedankengang record has not been played, but has no visible scratches. Heinz Brand $250.00 Bern: Erika + Otto Friedrich, 1978. Edition of 400, of which this is no. 238. Saddle-stapled 8vo in card

19 catalog no. one

33. Lily Greenham, Enzo Mari, Bruno Munari, Nam June Paik, et al. 34. Martin Leman, ed.

35. Jochen Gerz 36. John Giorno and Daniel Spoerri

20 catalog no. one

32. Four Events and Reactions cover, and a small red and blue sticker diagonally affixed John Baldessari to the back cover. Issue no. 3 with a lenticular mouth Florence / Paris: Centro Di, Florence / Galerie affixed to front cover. Issue no. 5 cover offset printed in Sonnabend, Paris, 1975. Small horizontal softcover 8vo two colors. Unpaginated. The covers of all five issues also in printed black wrappers. Unpaginated (ca. 52 pp.) have a small round red ‘3/-’ shilling price label affixed in various places, as well blue ex-library stamps. Published on the occasion of Baldessari’s exhibition at the Stedelijk Museum in Amsterdam November 21, A complete and collated run of Leman’s pop art-inspired 1975 — January 4, 1976, a photographic artists’ book magazine featuring works by William Burroughs, documents a woman experiencing the following events Georges Sheridan, Stan Peskett, Colin Smith, Mike first hand: 1. Putting a finger in milk, 2. Touching a cactus, Forman, Brian Mills, Edward Mace, David Cripps, 3. Putting out a cigarette, 4. Pushing a plate off a table. David Kozubei, Ron Sandford, Rufus Segar, among As often is the case, Baldessari walks a delicate line others. Profusely illustrated with drawings, photographs, between the sardonic and the obvious with a wink. and collages, this small-sized publication deals with the visual side of poetry, music, art, sex, politics, and racism. Very good with surface scratches to cover including A clear articulation of the 1960’s London culture. a hard diagonal fold line to lower right tip of cover, wear to extremities, and light foxing to endpapers. Very good with age toning throughout and trace amounds of rubbing to covers including library stamps $200.00 to front covers. 33. Kinetics $500.00 Hayward Gallery, Martha Boto, Alexander Calder, Lily Greenham, Enzo Mari, Bruno Munari, 35. Is there life on earth? Nam June Paik, Jean Tinguely, Stephen Willats, et al. Jochen Gerz London: Hayward Gallery / The Arts Council of Great Paris: Editions Agentzia, 1969. Clear flat vinyl bag Britain, 1970. Tall 8vo card stock folder containing 219 x 278 mm in size with black text. seventy-three loose and folded plates printed in black An empty bag from Gerz’ 1969 — 1970 performance art and white. Unbound. piece titled ‘Is there life on earth?’ in which 800 empty Designed by Crosby / Fletcher / Forbes, a catalog bags were mailed to friends, strangers in the Paris phone issued on the occasion of the exhibit ‘Kinetics’ at the book, and exhibition visitors in Nice, Basel, München, Hayward Gallery, September 25 – November 22, 1970 London, Swansea, Belgrade, Montevideo, and Buenos documenting the influence of Kinetics in modern art. Each Aires. The bags were sent with instructions to mail back of the sixty-seven artists is given their own plate featuring to the artist any object they no longer wished to possess. a short statement, portrait, and artwork. One of the Over 300 individuals responded and these were sealed more notable contributions is titled ‘A Possible Refusal’ and buried 30 meters below ground on the site that is by the Italian designer and artist Enzo Mari, in which he now Montparnasse Tower in Paris. A gentle commentary states his refusal to participate in the show on account on materialism and the difficulty in doing away with the gallery not covering the full costs. Complete with things that burden our lives. introductory essays and manifestos providing historical Very good with light scuffing to both sides. and artistic context. An iconic piece of design by the $200.00 distinguished trio of Theo Crosby, Alan Fletcher, and Colin Forbes in London printed by Lund Humphries, 36. Daniel Spoerri presents Eat Art: who also published Typographica. Chocolate Bar Poem Trace amounts of rubbing and age toning to folder, John Giorno and Daniel Spoerri including light amount of foxing to fore edge, else fine. Düsseldorf: Eat Art Gallery, 1970. Small 21 x 29.7 cm $120.00 (8.26 x 11.7") poster printed in dark brown on brown paper on one side only. Text in English and German. 34. Arcade Nos. 1 – 5 (Complete) Announcement poster for Giorno’s exhibition at Leman, Martin, ed. Spoerri’s long running Eat Art Gallery which opened London: Arcade, 1964 – 1967. Five square 8vos saddle- in 1970 above his restaurant and featured artists such stapled and offset printed in black and white. Issue no. 1 as Joseph Beuys, Karl Gerstner, André Thomkins, with a rectangular blue label diagonally affixed to front Roy Lichtenstein, Emmett Williams, and Robert Filliou.

21 catalog no. one

Folded once with trace amounts of handling creases, matter on a scale from 1 — 19. The text, printed in else fine. English and French, reads: $75.00 “all literature — past, present and future — can be objectively evaluated at last, thanks to the 37. A Book STANDARD-BOOK which alone ensures the Kota Ezawa faultless measurement and impartial assessment Np: Nd. 8vo in softcover wraps bound with a strip of printed matter(s).” cloth spine, printed in black and white. Small clear A joyful multiple consisting of equal amounts seriousness label pasted down on title page stating author and title. and absurdity. The additional ‘L’ in Filliou’s printed last Unpaginated (ca. 142 pp.) name remains unclear, however. A curious artists’ book where words have been replaced A trace amount of rubbing to covers, else fine. by multiple rows of same-sized arrows pointing to the $250.00 right. At the end of each row is a return arrow leading the reader to the next row. The pages are identical 40. Graphismes by Frutiger: The Graphic work throughout the book except for the last arrow on the of Adrian Frutiger last page being a stop arrow. The repetitiveness of the Adrian Frutiger layout creates an alluring effect that makes one want to read the whole book from beginning to end in hopes London: Monotype House, 1964. Saddle-stapled that something different might appear. narrow 4to in printed red and black wrappers. Unpaginated (24 pp.) Very good with age toning to pages throughout and trace amounts of rubbing to covers. A brief yet comprehensive survey of Frutiger’s work and career including illustrated examples of type designs, $200.00 directional signs, marks, magazines, books, miscellanea, wood engravings, and sculptures. Also includes a 38. Sínteses / Visão Segunda (complete) biographical essay outlining Frutiger’s philosophies E. M. de Melo e Castro and the influences and experiences that shaped Lisboa: Quadrum Galeria de Arte, 1978 — 1982. First his career up to 1964. Elegantly typeset in Univers edition. Two 4to-sized (20.5 x 26.8 cm) card stock throughout and printed at the Curwen Press in east folders containing loose illustrated plates offset printed in London. Very good with age toning throughout, light black and white on recto side only. Issue one with seven scuffing to covers, and bump to crown. plates including a three-panel prospectus, issue two with thirteen plates plus an overview sheet. Text in Portuguese. $100.00 Two handsome and exploratory exhibition catalogs 41. Pop Art: Do it Yourself featuring essays, concrete poetry, collages, photography, Diter Rot, Jim Dine, Roy Lichtenstein, Claes and art by one of the more prominent leaders of the Oldenburg, George Segal, George Brecht, Portuguese avant-garde. The first volume was issued in Wolf Vostell, Hans Joachim Dietrich, Mimmo Rotella, 1978 and features photography by the concrete poet Nam June Paik Ana Hatherly, and the second four years later in 1982. A complete set of the only two issues published. Düsseldorf: Verlag Kalender, Hansjoachim Dietrich, [1963]. 12mo in stiff laminated wrappers bound with Both volumes very good with trace amounts of rubbing a glued black cloth spine. Pages printed on card stock. to covers, age toning throughout and some tide marking Unpaginated. Text in German and English. to overview sheet in the second volume. A survey documenting the new art of the 1960’s bringing $400.00 together artists from the fields of Pop Art and Fluxus featuring early paintings, collages, documents, prompts, 39. Standard-Book / Livre-Étalon and texts by Rot, Dine, Lichtenstein, Oldenburg, Segal, Robert Fillliou (Filliou) Brecht, Vostell, Dietrich, Rotella, and Paik, most of which Stuttgart: Dieter Roth, ed. 1982. Edition of 1,000. were relatively unknown at the time. Different than most Concertina format, 4 x 4 cm folded, 4 x 80 cm surveys of the time, the book is designed in a way that unfolded. Offset printed in blue and black. combines the art forms, in turn, creating a new narrative. Text in English and French. A unique and handsomely designed reading experience Published by Dieter Roth, a small artists’ multiple that which is an artists’ book above anything else. gives anyone the ability to measure and rank printed

22 catalog no. one

37. Kota Ezawa 38. E. M. de Melo e Castro

39. Robert Fillliou (Filliou) 40. Adrian Frutiger

23 catalog no. one

A very similar design and format was used for the A striking suite of concrete poetry broadsides published 1965 publication ‘Happenings, U.S. Pop Art, Nouveau in Amsterdam during the Communist Party rule in Realisme, Etc.’, also published by Verlag Kalender. Czechoslovakia by eleven different Czech poets and Trace amounts of rubbing to covers with a lightly cocked artists with individual plates exploring language, spine and age toning throughout, else near fine. design, and other visual intricacies. One of the two pieces by Valoch is in the form of a sheet of toilet paper $850 rubber stamped with the word ‘m:erde’. An intriguing and historical gathering of art and poetry. 42. klankteksten ? konkrete poëzie visuele teksten / sound texts ? concrete poetry Portfolio very good with trace amounts of rubbing visual texts / akustische texte ? konkrete and handling creases. Small diagonal fold line to poesie visuelle texte bottom tip of first plate, else fine. Liesbeth Crommelin, ed., Stedelijk Museum (SM) $350.00 Amsterdam: Stedelijk Museum (SM), 1971. 4to in printed dust jacket over softcover wraps printed in black and 44. l’in finito / un nonulla / busta celeste white with section dividers printed in blue. 230 pp. Text (serie situazioni plasticoverbali nos. 1 — 3) in Dutch, English, and German. Arrigo Lora-Totino, Sandro de Alexandris (design) Catalog for a traveling exhibition of concrete, visual, and Torino: studio d’informazione estetica, 1969. No. 1: sound poetry organized by the Stedelijk Museum in 1971 Edition of 1,000 of which this is no. 863. Die cut and with contributions from over one hundred artists from folded 10.3 x 10.3 cm card stock sleeve containing a Europe, North and South America, and Asia including leporello bound card stock book printed on recto and Augusto de Campos, Pedro Xisto, Adriano Spatola, Carlo verso measuring 10 x 10 cm folded, 80 x 10 unfolded. Belloli, Claus Bremer, Decio Pignatari, Diter Rot, Daniel No. 2: Edition of 1,000 of which this is no. 305. Die cut Spoerri, André Thomkins, Max Bense, Ferdinand Kriwet, and folded 10.3 x 10.3 cm card stock sleeve containing Henri Chopin, Heinz Gappmayr, Öyvind Fahlström, John a 10 x 10 cm card stock book printed on recto and verso Furnival, Ian Hamilton Finlay, Mathias Goeritz, Herman which unfolds to a 10 x 10 x 10 cm cube. No. 3: Edition Damen, Hans Clavin, Eugen Gomringer, Hansjörg of 1,000 of which this is no. 544. Die cut and folded 10.3 Mayer, Michele Perfetti, Timm Ulrichs, Thomas Ockerse, x 20.3 cm card stock sleeve containing a leporello bound Mirella Bentivoglio, Hiro Kamimura, Kawashima, card stock book printed on recto and verso measuring Emmett Williams among others. A most comprehensive 20 x 10 cm folded, 60 x 10 unfolded. Text in Italian. and beautifully designed survey complete with essays A remarkable set of three-dimensional Italian concrete by de Vree, Döhl, and Cobbing. The iconic cover and poetry pieces by Loratotino and De Alexandris in the catalog designed by Wim Crouwel and Jolijn van der form collapsible and expandable paper sculptures that Wouw at Total Design. Issued as SM Catalog No. 492. feel like individual artists’ books. Very good with trace amounts of soiling to cover No. 1 is an unfolding leporello piece with the word ‘finito’ including crease lines to top right corner of dust jacket repeated without word spacing on recto and verso with and text block (which has since been mostly flattened one mentions typeset in bold. No. 2 is an intricately die out), a small chip to crown of dust jacket, and the usual cut and collapsible cube that can be reassembled with age toning along spine, extremities, and throughout. the words ‘un nonnulla’ which translates into ‘a no one’. $300.00 No. 3 is a larger unfolding leporello piece with the word ‘cielo’ and ‘cieco’ which translates into ‘sky’ and ‘blind’. 43. konkrete poezie uit tsjechoslowakije Minimalist Italian design and concrete poetry at its Bohumila Grögerová, Josef Hiršal, Josef Honys, best and issued as nos. 1 — 3 in the ‘situazioni Jirí Kolár, Dana Konecná, Karel Milota, Ladislav plasticoverbali’ series. Our research suggests these Nebesky, Ladislav Novák, Jindrich Procházka, are the only issues published. Karel Trinkewitz, Jirí Valoch Card stock sleeves on all three very good with Amsterdam: Np, [1970]. Tall green paper portfolio trace amounts of rubbing and foxing to extremities, 28.2 x 35.5 cm (11.125 x 14") in size with eleven loose crease lines along margins, and bumps to corners. plates of the same size measuring 26.8 x 34.9 cm Trace amounts of rubbing of leporello books and (10.5 x 13.75") printed in color and black and white, folded cube, else fine. and a single sheet of rubber stamped toilet paper. $750.00

24 catalog no. one

41. Diter Rot, George Brecht, Wolf Vostell, Nam June Paik, et al. 42. Liesbeth Crommelin, ed.

43. Jirí Kolár, Jirí Valoch, et al. 44. Arrigo Lora-Totino, Sandro de Alexandris (design)

25 overlapping theories on art, design, & concrete poetry.

About us Terms Our purpose is to promote, further, and preserve the All items are subject to prior sale. All items are returnable history and tradition of books and materials in the within seven days of receipt for any reason. Buyer overlapping fields of art, design, and concrete poetry. assumes responsibility to pay for return shipping. Refunds will be credited upon receipt of returned item We specialize in artists’ books, ephemera, prints, in its original condition. Institutions may be invoiced correspondence, and art from the 1960’s onward. according to their requirements. Reciprocal dealer discounts apply. We accept PayPal and major credit Our clientele include collectors, artists, designers, art cards, and all orders are properly packaged with care directors, creative directors, teachers, art and design and attention and shipped within 2 — 3 business days. students, museums, colleges, institutions, and libraries. Grading If you would like to be on our mailing list for items or our We work hard to grade our inventory honestly, fairly, and catalogs, please let us know. accurately including any and all imperfections, blemishes, We also purchase books and collections within our fields defects, or faults. Should you have specific questions of interest, and we also help individuals and institutions about the condition of an item, please don’t hesitate to build collections with a creative focus. contact us. We’re happy to provide additional information or images if need be. If you have any questions, email us at The Idea of the Book [email protected]. 3603 SE 10th Avenue It’s raining here in Portland, Ore. Portland, OR 97202 [email protected] theideaofthebook.com

illegal america. division leap no. 26—

Booksellers, publishers and researchers of the history of print culture. Collections purchased. Books found. Appraisals performed. Libraries built. divisionleap.com

illegal america. 1.

31 1. Jeannette Ingberman and Papo Colo, Van Raay. The catalog documents the works of all curators. Illegal America. artists in the exhibition except for Brus, Bryant, New York: Exit Art, 1982. 4to, [108] pp, Forgione, Muehl, Nitsch, People’s Flagshow and cardbox box fastened with a pasted-down dollar Van Raay, as issued. bill, containing 27 sheets, each folded into a four The work documented in the catalog is incred- pp. brochure. Illustrated in b/w. Though unstated, ible, using a wide variety of strategies to approach one of 500 copies. the topic. There is documentation of Chris Burden’s The brilliantly designed catalog for this 1982 “Coal to Newcastle”, in which Burden flew a model exhibition, the first by Exit Art, which was held at airplane carrying marijuana which bore the legend Franklin Furnace, and was devoted to art which “Hecho en U.S.A.” over the border in Mexico, included the concept of illegality as discourse. The reproductions of William Farley’s censored Kent project was a natural progression from both artists’ State stamp, John Giorno’s description of his par- shared interest in the subject, as Papo Colo’s first ticipation, with Abbie Hoffman, in the WPAX proj- work of art was a forgery of a university diploma, ect, a photograph of Abbie Hoffman being checked and Ingberman had previously studied art and into prison carrying a hacksaw as a bookmark in a law. Shortly before the exhibition opened, the two copy of “Fire in the Minds of Men”, Richard Mock found that they had been given a grant of $4,000 and Cesar Chavez stealing a section of Christo’s 2 for the show, and so they decided to create a cata- million dollar “Running Fence” sculpture in order log. “Four thousand was an enormous amount of to write the number 14 on it to publicize Bill #14, money, and it enabled us to do the catalogue. We which would allow union organizer’s on private made 500 of them. It was the first one we made land to unionize migrant workers, and Tehching with a cardboard box. We attached a dollar bill “Sam” Hsieh issuing his own U. S. Immigration across the top of the box so you had to something Service wanted poster for being undocumented, illegal – tear the bill – to open it.” – Ingberman, and photographs of the occupation of the con- Unfinished Memories p. 8]. demned building in which the Real Estate Show The choice of a cardboard box was one of took place. necessity, but became the vital part of the design. This example of the catalog is still sealed with “Necessity determines how you are creative… we the dollar bill unbroken. The previous owner had wanted to have a catalogue, and by necessity it was carefully opened at one end to avoid committing in a cardboard box. We made the cardboard box the suggested crime. the beauty and the creative part of the design. One of the most important catalogs of the de- And then we sealed the catalogue by gluing a cade, and not as well known as it should be perhaps dollar on top, so it cost us an additional dollar due to its rarity. OCLC locates 7 holdings. for each catalogue.” [ibid, p.13] Contents lightly toned, with some creasing to The exhibition included work by Vito Acconci, margins of title page. Near fine. Sold Gempei Akasegawa, Louis Aragon, Scott Billingsley, Marc Blane, Gunther Brus, Barry 2. Cildo Campos Meireles. Zero Dollar. Bryant, Chris Burden, Papo Colo, Bogomir Ecker, Np: The Artist, [1976-1984]. 2 5/8 x William Farley, John Fekner, Lou Forgione, John 6 1/8" sheet, offset lithograph. Signed in plate Giorno, Guerilla Art Action Group (GAAG), John by the artist. Halpern, Abbie Hoffman, Sam Hsieh, Jay Jaroslov, Beginning in 1969, Meireles began his Árvore Komar & Melamid, George Maciunas, Gordon do dinheiro series, which appropriated currencies Matta Clark, Ann Messner, Richard Mock & in order to question their relationship between Cesar Chavez, Peter Monnig, Charlotte Moorman, national identity, exchange value, inflation, materi- Otto Muehl, Herman Nitsch, Dennis Oppenheim, ality and representation, all called into sharp relief People’s Flag Show, Real Estate Show, and Jan by reducing the stated value of these printed objects

32 3.

33 to zero. One of the most potent art projects of Foded once, with some very light handling the 1970’s-1980’s, and one which has increasing creases to extremities, else fine. $1,250 and not yet fully understood repercussions in our own time as we hurtle towards a zero marginal 5. Richard Prince. In Complete Control cost society. $1,500 [Exhibition Announcement] New York: Ellen Sragow , [1976]. 4 1/2 x 6 1/8" 3. Angela Davis. Wanted by the FBI. exhibition announcement postcard, illustrated at Interstate Flight – Murder, Kidnaping. recto with a reproduction of the title work. Angela Yvonne Davis [Inscribed]. The exhibition announcement for this 1976 Washington DC: Federal Bureau of exhibition by Richard Prince at Ellen Sragow Investigation, 1970. 10 1/2 x 15 3/4", offset Gallery – one of the artist’s earliest exhibitions, printed. Inscribed by Angela Davis beneath her perhaps his second. photo, “Peace! Angela Y. Davis L. A. 10/12/97.” Fine. $750 Provenance available upon request. The FBI wanted poster, issued August 18, 1970, 6. Kathy Acker. Security and Punishment. for Angela Davis, then wanted on charges con- Original Eighties Vol. 1, No. 1 nected to the events of August 7 of that year at the [San Francisco]: The Artist, 1980. Tabloid Marin County Courthouse. Davis was then on the format, [32] pp [incl. covers], offset printed on FBI most wanted list, only the third woman ever to newsprint. Association copy, addressed and mailed be afforded that distinction. After evading police by Acker to Jackson Mac Low. for two weeks, she was captured and incarcerated An appropriation work in which Acker ap- for 16 months before being acquitted at trial. pears to have taken a copy of the debut issue of the The iconography of FBI wanted posters is a tabloid periodical RE/Search No. 1, pasted her own very specific type of modern portraiture, sometimes text onto each page, and reprinted it. OCLC locates – as appears to be the case here – appropriating no holdings, and the only reference we’ve ever seen photographs taken of subjects in other contexts, to the work is in Vale’s RE/Search e-newsletter instead of mug shots. The proximity of the inscrip- #160, in which he mentions that Acker had mailed tion to the left hand photograph, suggests that him a copy. This copy, mailed to Acker’s fellow Davis reappropriates her image which had been writer Jackson Mac Low, is the only example we’ve stolen by the pursuer. seen or handled, and OCLC locates no holdings. Folded three times for mailing; old paper tape The subtitle, Original Eighties Vol. 1, No. 1, sug- remnants at upper and lower margins and lower gests that further installments might be forthcom- tips at verso from being posted. Signature slightly ing, but we’ve seen no references to further install- smudged. Very good. $2,500 ments. Perhaps Acker’s rarest book. Sold

4. Jenny Holzer. Untitled [Abuse of Power 7. William S. Burroughs. Time. Comes as No Surprise…]. New York: C Press, 1965. First edition. 4to, [New York]: The Artist, [1977–]. 13 1/2 x 20" offset printed, saddle stapled wraps.The trade broadside, offset printed. edition, one of 886 copies. One of the best known posters from her One of Burroughs’ most successful explorations Truisms series, which the artist began in 1977 in the cut-up and appropriation of popular print. and posted and distributed around New York City. As one of the most immediately recognizable main- A pencilled note at the verso that this copy was stream magazines of the decade, Time Magazine from the Times Square Show, and the account was a natural target, but the choice was more im- of the show at the Times Square Revisited website mediately spurred by the magazine’s infamous and by Tom Otterness notes that Holzer sold Truism libellous review of Naked Lunch in the November posters at the event. 30, 1962 issue – the same issue which Burroughs

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35 has cut-up on the cover. The interior prints cut-ups 10. [Disband]. Land at Fashion Moda. and texts by Burroughs, some utilizing texts Bronx: Fashion Moda, 1980. 8 1/2 x 14" poster, from other issues of Time as source material, offset printed on pink paper. and also includes four reproductions of drawings The poster for this 1980 event at Fashion Moda, by Brion Gysin. which included a performance by the feminist no [Reference: Maynard and Miles A11]. wave supergroup Disband, which at one time or Very good with toning to wraps, some another included Ilona Granet, Donna Henes, moderate soiling to wraps, and some light Barbara Kruger, Ingrid Sischy, Diane Torr, and rubbing along spine. $350 Martha Wilson. The project disbanded in 1982, and never recorded an album in that time, though 8. Lucy Lippard, curator. c. 7,500. a worthy 2009 release by Primary Information Valencia, CA: California Institute of the Arts, documents some of their live recordings. The night 1973. 30 postcards housed in an unprinted manila also included a film screening by Joseph Nechvatal, clasp envelope. a reading by Fontaine Dunn, and a performance by The catalog for the fourth and last of the “num- Cid Collins and Carol Parkinson. $150 bers shows”, which began in Valencia, California – population c. 7500 – and travelled to other loca- 11. The Judson Three (Faith Ringgold, tions. Like the previous installments in the series, Jon Hendricks, and Jean Toche). Postcard the catalog consists entirely of randomly arranged Invitation to the Soul Champagne Dinner Party. postcards by artists, but for the first time in this New York: Legal Defense of the Judson Three, catalog all of the artists are women. 1970. 4 3/8 x 6 5/8" postcard invitation, illustrat- The postcards include a title page, and a fore- ed at recto with a b/w reproduction of a painting ward by Lippard over three postcards, followed by Ringgold, with event information at verso. by 26 postcards by the artists, which includes Addressed and postmarked. Renee Nahum, Renate Altenrath, Nancy Wilson The Judson Three consisted of the African Kitchel, Poppy Johnson, Alice Aycock, Rita Myers, American artist Faith Ringgold, Jon Hendricks, Christiane Möbus, Bernadette Mayer, Patricia and Jean Toche, who had organized the infamous Lasch, Suzanne Kuffler, Christine Kozlov, Nancy People’s Flag Show at Judson Church in 1970, Holt, Doree Dunlap, Hanne Darboven, Jennifer and were subsequently arrested on charges of Bartlett, Judith Stein, N.E. Thing Co., Mierle desecrating the flag. Each were fined $100, and Laderman Ukeles, Ulrike Nolden, Jacki Apple, this event was held to raise money for their legal Laurie Anderson, Adrian Piper, Athena Tacha, defense fund. As described on the verso, the and Eleanor Antin. admission charge was $10, which bought the Postcards fine. Envelope is well-creased at attendee “one champagne drink and all the soul margins, with Lucy Lippard’s name written ink, you can eat.” The recto of the poster, reproducing along with the word exhibition, underlined, and the a painting of three figures standing behind the bars names of two other artists in a different hand – Lil of the American flag, must certainly be a reference Picard and George Brecht – crossed out. $2,500 to the legal plight of the 3. The lightweight paper stock is lightly creased, 9. [Adrian Piper]. Dear Friend, I am not toned, and abraded. with some paper adhesion to here to pick anyone up… verso from removal of the original stamp, else very Np: Angry Art, 1986. 2 x 3 1/2" card, offset good. $250 printed on white card stock. An installment in the artist’s Calling Card 12. A.I.R. Gallery. Manifesto for the Founding series, in which the artist appropriated the 19th of A.I.R.Gallery. century convention of calling cards to draw New York: A.I.R., 1972. 23 x 29" sheet, attention to racism and sexism in the 1980’s. folded once to make [4] pp. Illustrated in b/w. Fine. Sold 36 8.

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37 Folded several times for mailing, and addressed Life and Times of David Wojnarowicz, p. 210. by Howardena Pindell and mailed to a curator The exhibition also included work by Anselm The oversized poster mailer for the founding Kiefer, Jean Michel Basquiat, Keith Haring, of A.I.R. at 97 Wooster Street. An unsigned text Richard Hambleton, Jane Dickson, Baynard him- describes the need for, and founding of the exhibi- self, Richard Bosman, Sandro Chia, Martin Disler, tion space. The founding twenty artists are listed: James Hansen, Jonathan Borofsky, Francesco Dotty Attie, Rachel Bas-Cohain, Judith Bernstein, Clemente, David Salle, Judy Rifka, Jedd Garet, Blythe Bohnen, Maude Boltz, Agnes Denes, Daria David Hockney, and Joan Snyder. Dorosh, Loretta Dunkelman, Mary Grigoriadis, Catalog fine; checklist with ink annotations, Harmony Hammond, Anne Healy, Laurace James, and folded once, else very good. $250 Nancy Kitchel, Louise Kramer, Rosemary Mayer, Patsy Norvell, Howardena Pindell, Nancy Spero, 14. [The Committee for the Real Estate Show]. Susan Williams, and Barbara Zucker- along with Bilingual Poster for the Real Estate Show. a reproduction of a work by each, and the date of New York: The Committee for the Real Estate their exhibitions at the gallery, giving a valuable in- Show, 1980. 11 x 17", printed on recto in two sight into the programming of the space for the first colors, with English text, and on the verso in b/w months of its existence. The poster also announces with Spanish translation. the debut exhibition at the gallery which opened Original poster for the Real Estate Show, September 16 and included the work of 10 artists. which took place at the dawn of the 1980’s, and Folded three times as mailed, with additional eventually led to the creation of ABC No Rio. handling creases, but very good. Sold The poster recapitulates the early chronology of the show and struggles with the HPD until the 13. [David Wojnarowicz] Ed Baynard, January 11th seizure of artwork. curator. Fast. Some very faint toning to extremities else fine. New York: Alexander F. Milliken , 1982. 4to, $250 [28] pp, offset printed. Saddle-stapled wraps. Illustrated with full page reproductions, some in 15. The Committee for the Real Estate Show. color. Designed by Antony Drobinski and Roberta Locked Up Ideas. Savage. With a foreward by Susan L. Putterman. New York: The Committee for the Real Estate With a checklist for the exhibition laid in. Show, 1980. 4to, three sheets printed on rectos The catalog for this 1982 exhibition at only from a hand-corrected typescript. Illustrated Alexander F. Milliken – a key exhibition for the with a drawing by Rebecca Howland and a photo downtown art scene in the early 1980’s, and of 123 Delancey. the first exhibition to include work by David A manifesto for the reopening of the Real Wojnarowicz. It was because of the invitation to Estate Show and announcement of an upcoming join this exhibition that Wojnarowicz began to ex- press release on January 8, 1980. The release is plore painting as a medium. While assembling the illustrated with a drawing of an octopus clutching work for the show, Baynard was struck by stencil buildings and cash, perhaps an illustration of the art he had seen in the East Village of a burning HPD. Of special note is an announcement that the house. Baynard asked his friend Peter Hujar about Real Estate show would exhibit documents related the stencil, and Hujar told him of Wojnarowicz. to environmental and legal problems in the city, Baynard asked if Wojnarowicz painted, and Hujar including arson, the failure of the Red Hook waste mentioned that Wojnarowicz didn’t, but was think- treatment plant, and a proposal for a circumvention ing about trying it. Wojnarowicz subseqently cre- of Con Edision by forming an electricity coop. The ated his first painting for the exhibition, Diptych, final page reproduces a flyer entitled “An Urban a portrait of Hujar. See Carr, Fire in the Belly: The Development Insurrection” and which explains the

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39 reasons of the Real Estate show and dedicates dawn of the 1980’s as well as the role of the human it to Elizabeth Mangum, the African American in an increasingly automated and computerized woman who was killed in Flatbush during an world. “Computer Designs the Coziest Possible eviction the previous year. Room” is assigned the date of 1979 on the artists’ A hasty but cogent presentation of the aims website, and is entirely offset printed. The other of the show at the very dawn of the decade. three examples, including Launch/Lunch, a version Heavily toned at recto of first leaf and of which was exhibited in 1982 at Ronald Feldman verso of last, where there is also some evidence Fine Arts, all have paper collage elements, and are of dampstaining. possibly maquettes; the latter is visually different Rare. The only example we’ve seen. $100 from the example pictured on the artists’ website. Small pinholes at tips from being posted, not 16. Rebecca Howland. Romance of War. affecting images; small area of dampstaining to Np: The Artist, 1980. 8 1/2 x 11", xerox one poster; collage element loose from one poster, and hand-painting on paper. Signed by the artist but still present; very good. $850 twice at lower margin, once in plate and once in holograph. 19. Jenny Holzer et al. Museum für Howland was an important member of the (Sub-) Kultur. Downtown scene in the late 1970’s and 1980’s, West Berlin: Museum für (Sub-) Kultur, 1981. and was involved with COLAB and ABC No Rio. First edition. 4to, [4], 83 pp. + index. Xeroxed on This work, which critiques the Corporate Oil ties various colors of paper stock. Clipbound into or- behind armed conflict, is related thematically to ange card wraps. Illustrated with b/w photographs her other works attacking big oil, including Oil Rig and reproductions. One of 150 copies printed. Fountain, which had been installed in the men’s Texts in German and English. room as part of the Times Square Show. The work Artists’ publication documenting exhibitions is xeroxed in b/w, with hand-coloring, and was at the Museum für (Sub-) Kultur from 1980-1981. perhaps made as a street poster. The Museum was an artist-run alternate arts venue Some light toning, and short nicks to margins; created and operated by Detlef Carl, Gerti Fietzek, pinholes to tips; very good. $450 and Andreas Stucken, and financed by “surplus gained through the jobs of” the three. It was con- 17. Rebecca Howland. Reagan? nected to a library and collection of works from Np: The Artist, 1980. 8 1/2 x 11", xerox and the 1960’s and 1970’s at Stucken’s private flat. hand-painting on paper. Signed by the artist in ink The group was associated with COLAB and at lower margin. Fashion Moda as part of Collectiva International, Heavily creased, with some small closed tears a group of alternate art groups in the early 1980’s. to margins, and a 1” dampstain to lower margin, This connection with the New York downtown else about very good. $300 scene is exemplified here by the inclusion of work by Jenny Holzer & Peter Nadin (including pho- 18. Erika Rothenberg. Four Early tographs of altered graffiti and photographs of Poster Works. posters in situ from their early 1981 exhibition [New York]: The Artist, [c. 1979 – 82]. Four at the gallery), Reese Williams, Sean Scully, sheets, each 8 1/2 x 11", collage, marker, and offset Catherine Porter-Scully, and Judy Rifka. Other printing. Each signed by the artist at verso. artists included are Onze Rue Clavel, Goran Four very early works by Rothenberg, dating Djordjevi, Zvi Goldstein, Gerard Hemsworth, from the late 1970’s and the 1980’s – years in Jochen Krüger, and Dominique Pasqualini. which she was an important part of the downtown Rare. This is the first example we’ve seen, and arts scene associated with COLAB, the Guerrilla OCLC locates only one holding. Girls. These works critique the political scene at the Fine. $600

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41 20. Donald Moffett. Call Senator Jesse strongly suspect to be the work of Ray Johnson, Helms 1 (202) 224-6342. Tell Him I Can Teach not Sherrie Levine. The “Collage by Sherrie Him to Swallow. Levine” rubberstamp utilizes the same gothic font New York: Simon Watson, 1991. 4 1/4 x 6" which Johnson used for his rubberstamps, and the postcard, offset printed. finding aid for the rubberstamp portion of the Ray Postcard issued for two 1991 exhibitions by Johnson archive at Feigen notes that a rubberstamp Moffett, Wet Dreams at Simon Watson, and Wet bearing this attribution was in Johnson’s archive. Holes at Wessel O’Connor, which took place in See also Clive Philpott’s essay “The Mailed Art January and February 1991. In the space in which of Ray Johnson” for Johnson’s use of the Levine the postage should be affixed, there is the printed rubberstamp. instruction “Lick and Stick Here.” $1,250 Fine. Sold 23. [Ray Johnson]. Collage by Alexandra 21. Gabor Attalai. Collage, ALS and Findlay. Exhibition Announcement Related to the New York: 1967. 5 x 7" collage on postcard, “Redy-Made Windows” Action in New York. rubberstamped “Collage by Alexandra Findlay” Hungary: Attalai Gabor, 1977. 5 7/8 x 8" and “Ray Johnson”. collage, sealing wax, rubberstamp and wax paper A collage by Ray Johnson upon a postcard ex- on a photograph which is rubberstamped at verso. hibition announcement for “The Hanging Floating With a 2 pp. rubberstamped TLS to gallerist John and Cantilevered Show” at gallerist John Gibson’s Gibson, and a rubberstamped exhibition announce- office. Ray has added the phrase “Let it all Laing ment postcard for a 1977 exhibition by Attalai at Out” in his distinctive hand following the name of Galerie Lóa in 1977. the show, stapled a match booklet with an adver- For the Hungarian artist’s 1977 “Redy-Made tisement to become a computer programmer to the Windows” exhibition in New York cIty, he wrote postcard, and sent the postcard back to “Mr. John letters to 16 New York Galleries and bookstores, Gibsong.” Offered with John Gibson’s file personal requesting that they paint a portion of their gallery copy of the same postcard announcement, which window red according to a collage enclosed, and he has addressed and mailed to himself. document the work with slides sent back to the Alexandra Findlay was another mail art per- artist. A brilliant proposal dealing with geography, sona of Ray Johnson. The rubberstamp is in his the art market, and attention, which we can find no rubberstamp collection in the archive at Feigen. documentation of having been realized; an essay by Collage with a couple of strong creases, else Hock Beáta about Attalai on the Art Pool website very good. $600 suggests that no responses were forthcoming, if we can trust our precarious grasp of Hungarian. 24. Edward Kienholz. Contract for Purchase Fine. Sold of a Concept Tableau. New York: Dwan Gallery, [1967]. 4to, two 22. [Ray Johnson]. Collage by Sherrie Levine. leaves, each offset printed on rectos only on light- Np: nd. 4 5/8 x 6 1/4" collage on paper, weight rice paper, folded into and stapled along rubberstamped “Collage by Sherrie Levine.” top edge into a blue card sheet bearing the Dwan A collage on a Christmas card, on which a Gallery address at top margin. sheet of paper featuring concentric circles around A contract produced in conjunction with the a central hole has been pasted down over the February 4 – March 1 1967 exhibition by Kienholz second half of a religious text, allowing only the at Dwan Gallery, and likely mailed out – though word “toward” to be read. this example without envelope. A landmark Provenance available upon request. work of conceptual art which highlighted the A brilliant and minimalist collage that we transactional nature of the artist / collector / gallery relationship. 42 21.

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23. 43 Folded three times, likely for mailing, and 26. Bruce Conner. Announcement Multiple rubberstamped “Artists’ File” on the blue outer for ‘Lithographs’. sheet. Very good. $850 New York: Martha Jackson Gallery, [1972]. 5 1/8 x 7" postcard announcement, offset printed. 25. Bruce Conner. Poster for an Exhibition With illustrated overlay sheet printed on glassine. at Ferus Gallery. The two part announcement for this 1972 exhi- Los Angeles: Ferus Gallery, 1962. 10 x 13" bition by Conner at Martha Jackson Gallery. Both poster, offset printed. Photographically illustrated. the recto of the card and the glassine overlay repro- Machine folded twice. duce typically dense, abstract drawings by Conner. The poster for Conner’s June 4th, 1962 The overlay, when moved against the card’s surface, exhibition at Ferus Gallery – an early exhibition produces coruscating distortions of time and space. by Conner, and his first at Ferus. The poster is Fine. Sold illustrated with a photograph of Conner’s key early assemblage Portrait of Allen Ginsberg. Like 27. Berndt Petterson. i Påsen. Conner’s other assemblages from the period, the Mälmo: Bo Cavefors, [1965]. 4to, 27 perforated sculpture includes woman’s hose as a key element. leaves printed in various colors of ink on the rectos “Given what we know about Ginsberg’s only of various colors of paper stock, tapebound sexuality (he was open about it even in 1960), along upper margin, housed with a separate it is tempting to read PORTRAIT OF ALLEN printed title page in a paper shopping bag with GINSBERG as a homosexual encounter. A viewer printed title label. looking at the work from the front, head-on, sees Artists’ book of concrete poetry, published by two tin cans, one long and one short, encased in the audacious Swedish publisher Bo Cavefors on tan nylon stockings and hanging from the woo the occasion of Petterson’s 1965 exhibit at Galleri frame at slightly different heights. Paired with Karlsson. The perforated sheets give an air of each “can” is a stuffed, flesh-colored sack. The disposability to these significant concrete composi- pairings seem to face each other, like two men tions, which, presented in a shopping bag, suggests standing naked in a doorway. perhaps a critique of consumer culture while also In this tender evocation of what was then an involving the reader as rearranger and participant, illicit activity, Conner (a heterosexual) indicated and, with the latter, anticipating Steve McCaffery’s his sense of commonality with Ginsberg. Both were artists’ book Carnival (1973). Important as both young men at the start of their careers, both setting an early European artist book and an innovative out to break the taboos of conventional morali- presentation of concrete poetry, and perhaps over- ty and cultural consensus in their art. Although looked in both narratives due only to its rarity – political activism was not their immediate purpose, this is the first example we’ve handled, and OCLC Ginsberg, Conner, and the community of poets locates only the National Library of Sweden’s copy. and artists around them understood the alienation Fine; shopping bag near fine, creased and toned, of their generation and advocated for a moral with an old price sticker to front panel. $750 and political rebellion in original and compelling ways that became integral to their art.” Anastasia 28. James Lee Byars. Three Items Mailed to Aukeman, Welcome to Painterland: Bruce Conner James Butler. and the Rat Bastard Protective Association, Np: 1975. A suite of three items, all sent by pp. 140 – 141. Byars to James Butler, husband of Byars’ gallerist Narrow touch of red paint to upper margin, Eugenia Butler. affecting neither image nor text, some faint a. Three panel folding room service menu handling creases and toning to verso, else near from the Bellevue Palace Bern, annotated in fine. Sold pencil by Byars in his distinctive, star-studded

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45 handwriting to James Butler, with reference to artists’ book show at the Berkeley Art Center in “soft seats and a 2 o’clok checkout.” Housed in 1977; the two handed the broadside out at the the original pink mailing envelope, addressed and event, saying they had just made it “on a wing and postmarked to Butler. a prayer.” The text was supplied by Robert Rusk b. A copy of the 1973 Faber edition of Samuel and is from a book of short stories by Malcolm Beckett’s book “Not I”, in which is written on the Lowry. One of several ephemeron the group made half title page “JlovesJ” in Byars’ distinctive hand, in order to distribute at specific events, this one in pencil. perhaps meant to gently provoke some of the c. A postcard exhibition announcement seriousness surrounding the canonization of artists’ for Byars’ 1973 exhibition at Wide White Space, books at the time. addressed and postmarked to Butler. See Johnston p. 125 and 212. A suite of items indicative of Byars’ ludic $50 sensibility with correspondence, which was central to his work. 31. [John Cage] David Tudor. Handbill Light creasing and wear, but very good. $1,250 for the First New York Performance of 4’33. New York: [1954]. 4 x 8 1/4", offset printed on 29. [Fluxus]. Program for the March 29, recto; blue card stock. 1979 Flux-Concert at The Kitchen [Folded Into The original handbill for two performances by a Paper Airplane]. David Tudor in 1954 at Carnegie Hall. The first New York: The Kitchen, 1979. 8 1/2 x 14" night notes that there will be performances of piec- sheet, xeroxed on recto only. Folded into a es by Earle Brown, Christian Wolff and John Cage. paper-airplane. Though not mentioned by name, this performance The program for this late 1970’s Fluxus per- was the first New York performance of 4’33, and formance at the Downtown alternative arts space second ever performance of the piece, preceded The Kitchen. The program announces installa- only by the first performance in Woodstock. We’ve tions of works by Trisha Brown, Geoff Hendricks, never managed to find any ephemera documenting Robert Watts and others, as well as as 33 Fluxus the Woodstock performance, making this perhaps sound compositions, including works by La Monte the first printed ephemera in relation to Cage’s Young, Philip Corner, George Maciunas, Yoko most famous composition. Moreover, this New Ono, George Brecht, Nam June Paik, Mieko York performance was likely the performance at Shiomi, Takako Saito, Ben Patterson et al. The which a greater number of Cage’s contempories, performers included Dick Higgins, Philip Corner, the musicians and poets of what would become the Geoff Hendricks, Robert Watts, Alison Knowles, New York School, were first exposed to the piece. It Larry Miller, Yoshi Wada, Peter Van Riper, is tempting to wonder who was in the audience that Yasunao Tone, Peter Frank, and Ken Friedman. night – aside from a write-up the following day in This example of the program has been artfully the New York Times, we can find little documenta- folded into a paper airplane, by whom, and under tion of the performance or its reception. what circumstances, we are uncertain – but definite- The handbill notes that advance tickets can ly in the spirit of Fluxus. The paper is toned, with be ordered from John Cage at his East 17th street some stressing at fold lines, else very good. $250 address. We have handled another handbill for the first night performance which mentions 4’33 by 30. Zephyrus Image. Lettuce Pray. name and lists each movement; the present handbill Healdsburg: Zephyrus Image, 1977. First uses the same font and spacing schema, and was edition. folded paper airplane and broadside, probably designed by the same person. letterpress and linocut in three colors. This handbill exists with at least 4 different A broadside made by Holbrook Teter and colors of paper stock – blue, green, cream, Michael Myers of the ZI in order to crash an early and gray. Sold

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47 32. Bas Jan Ader & Bill Leavitt. Poster 35. Agnes Denes. Exhibition Announcement for a 1972 Event at Gallery A-402. for ‘Teckningar, Objekt, Grafik, Foto’. Valencia, CA: Gallery A-402, 1972. Lund, Sweden: Gelleriet, 1980. Single sheet 8 1/2 x 11", mechanically reproduced on recto only. folded once to make a small booklet, with two The poster for this 1972 exhibition by Bas Jan transparent leaves of tissue glassine laid in, which Ader and his friend and collaborator Bill Leavitt are printed in blue and are designed to overlay a at the small, student-run gallery at the California geometric drawing within. Institute of the Arts, an important venue for the The strikingly designed announcement for this dissemination of conceptual art on the west coast. 1980 exhibition by Denes at Galleriet in Lund. The poster announces two dates, October 24 and One page of the booklet prints a manifesto by 27, and announces that the event would take place Denes, in which she states “We Must create a from 2-4 in the mezzanine (opposite elevator) but new language, consider a transitory state of new makes no mention of what the performance or illusions and layers of validity…” Facing this state- screening was. We can find no references to the ment is a globe projection, and on the the glassine show, which would have occured shortly after overlays are printed, in blue, a corresponding but the Studio Show and the Pomona College Gallery different projection and a drawing of the continents exhibition (the latter being where Ader had first in blue, respectively. A striking illustration of the exhibited work from the various Fall series for the artist’s cartographic projections, here involving the first time in LA.) participation of invitee. Brilliant. Rare. The only example of the poster we’ve seen. Both glassine sheets lightly creased, with some Fine. $450 soiling, else very good. $300

33. Zero. Exhibition Announcement for 36. Dennis Oppenheim. A Search for Clues. “Zero Onuitgevoerd”. New York: M. L. D’Arc Gallery, 1976. 8 x 8 3/4" Amsterdam: Kunsthistorisch Instituut, 1970. exhibition announcement, photographically Single sheet folded once [folded size 8 3/8 x 12"]. illustrated at recto on card stock coated with Illustrated at the front panel with a reproduction reflective foil. of a drawing [by Otto Piene]. With invitation to The announcement for the 1976 exhibition at the opening [5 1/2 x 8 1/2", mimeographed from M. L. D’Arc Gallery, illustrated with a haunting typescript] laid in. photograph of one of Oppenheim’s puppets with a The exhibition and opening announcement for knife in its chest, held gravely in the arms of a child this 1970 exhibition devoted to the Zero group. staring at the photographer. The front panel drawing is unattributed, but repro- Some faint toning and a small crease to one tip. duces the work Balloon Blackberry by Otto Piene. Near fine. $125 Old horizontal fold line, else near fine. $150 37. Claes Oldenburg. Mickey Mouse Bookmark. 34. Gunther Uecker. Dear John Weber, Np: nd. 2 3/16 x 6 5/16" bookmark, Düsseldorf: 1973. 8 1/4 x 11 5/8", typescript offset printed. With author’s printed signature with graphite drawing on watermarked Reflex at lower margin. Special paper. Signed in ink by Uenther. A particularly striking image from Oldenburg’s A beautiful work sent from Uecker to the galler- exploration of the iconography of Mickey Mouse, ist John Weber, featuring a tracing of a hand over this with Mickey’s rectangular eyes crossed out. the typewritten phrase “Dear John Weber, we see Imprint, occasion, or publication date unknown. each other sometimes and here a little present.” Fine. Sold Folded once, perhaps for mailing, paper lightly toned and creased along left and right margin. Very good. $850

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50 39. 38. Claes Oldenburg. Mickey Mouse Amsterdam: Art & Project, 1973. 8 1/4 x Leporello Banner. 11 3/4" sheet, offset printed on recto only. Two fold Düssedorf: Städtische Kunsthalle , 1970. Single lines for mailing; typewritten address of addressee. sheet folded three times, offset printed and die-cut. The announcement for the 1973 Broodthaers Text in German [unattributed]. exhibition at Art & Project, “een serie van negen A leporello paper construction published on schilderijen in de nederlandse taal op een thema the occasion of Oldenburg’s 1970 exhibition in uit de schilderkunst.” Düsseldorf. It includes a text about the artist in 1" closed tear at one fold at margin, else German, followed by instructions for the reader very good. $85 to cut and assemble each mouse. Fine. Sold 42. Ludus [Linder Stirling]. Pickpocket / SheShe. 39. Stephen Antonokos. Three Altered Manchester: New Hormones, 1980. First Postcards. edition. 4to, [16] pp. [including covers], offset Np: 1976. Three altered commercial postcards, printed, saddle-stapled and laid into a printed addressed to Robert Buck. folder, housed in a plastic bag with with an audio Three postcards sent by the Greek sculptor to cassette and photographically illustrated pin. Robert Buck when he was at the Albright Knox New Hormones Catalog No. 1. Gallery. One of the postcards bore a reproduction An artist’s book by Linder Sterling, featuring of a painting by Kasimir Malewitch. Another is of shorts texts by her matched with photographs of the twin towers at the World Trade Center, each her by Christine Birrer, and issued with a cas- tower having a triangular portion cut away, and the sette by the project Ludus, of which Sterling was third is of the Marina City twin towers in Chicago. a member. Sterling’s early photomontages helped Some additional creasing and toning, but to form the collage aesthetic of the first wave of very good. $450 British punk, with her early work appearing on the Buzzcock’s Orgasm Addict single and in the 40. Robert Longo. Series of Three Secret Public zine. This is one of her early works Altered Postcards. dealing with what she termed self-collages – potent New York: 1966. Three 4 1/4 x 6" commer- deconstructions of the portrayal of femininity at cial postcards, each altered with golden marker. the dawn of the 1980’s. The work was reprinted as Housed in an envelope rubberstamped with individual prints in an edition of three, and formed Longo’s return address, addressed and postmarked the basis of an installation at Tate Modern in 2007. to Robert Buck. Scarce complete – copies often have at least one of The three postcards reproduce works by the elements missing. Jackson Pollock, Winslow Homer, and Brassaï. Contents fine. Plastic bag clouded, but Across the surface of each, Longo has written, in completely intact and very good. Sold large gold letters covering the field of reproduction, “Psycho”, “Summertime”, and “Trouble”. On the 43. Zepyhrus Image. Three Items Urging verso of each the cards are numbered 1 – 3, and bear the Impeachment of Richard Nixon. a letter in Longo’s holograph in the same gold ink. San Francisco: Zephyrus Image, 1972. A Postcards fine. Envelope folded once, with a selection of several items from the ZI’s campaign received stamp. $750 against Richard Nixon, a frequent target of their printed ephemera in the early part of the 1970’s. 41. Marcel Broodthaers. Exhibition See Johnston p. p. 54 for a great account by Eileen Announcement for Marcel Broodthaers Callahan of distributing the bumper sticker to 17.3 – 14.4.1973. senators in Washington.

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52 a. Impeach Nixon. 5 3/4 x 15" bumper sticker broadside, linocut in black on white uncoated paper. This appears to be a variant or proof copy not noted by Johnston, printed on white, uncoated paper. Johnston p. 206. b. Why Impeachment? Why Not!!? 6 7/8 x 8 1/8" broadside, letterpress printed in black on cream paper. A broadside in the form of a petition calling for Nixon’s impeachment. This particular item was done by Matt Teter (Holbrook Teter’s son), and friends. c. Label for the Dick & Pat Fly-Swatter and Fan (Deluxe Common Market Model). San Francisco: [Zephyrus Image], 1973/1974. 5.5" square with blue text and red photograph of the Nixons. Second printing. A collaboration with Ed Dorn, this is a proof for the label that the actual fly-swatter was issued with. There are a number of variants, this is the Common Market Model, (b.) in Johnston [Johnson p. 179]. Some minor creasing else fine. For all: $125

44. Raymond Hains. Untitled. Verona: Galleria Ferrari Verona, 1970. 4to, single sheet of card stock folded once. Offset printed in blue. With a fluorescent purple wooden match tipped onto the card stock. The striking, minimal announcement multiple for Hains’ 1970 exhibition at Galleria Ferrari, with minimal text announcing the exhibition, focusing attention upon the fluorescent match tipped into the announcement – an incendiary invitation. Slight indenting to card stock from matchstick, else fine. $150

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Catalog design Fredrik Averin