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 4 catalog no. one 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 5 catalog no. one 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. 6 catalog no. one 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.