Search Results

Vito Acconci
A collection of early multimedia documentation and unique proposals, 1970 – 1983
13242-BK

1. Steps (Stepping-off Place). (New York). (Self-published). 1970. (28 x 21.6 cm). Three xerox typed flyers, each folded for mailing; printed recots only. Three original typed flyers for one of the earliest of Acconci performance pieces. Steps (Stepping-off Place) describes a series of repetitive actions which took take place at the artist’s apartment on Christopher Street in New York over a period of four separate months. The project is described on the flyer as such: “An 18-inch stool is set up in my apartment and used as a step. Each morning, during the designated months, i step up and down the stool at the rate of 30 steps a minute; each morning, the activity lasts as long as I can perform it without stopping … (The public can see the activity performed, in my apartment, any morning during the performance months. Whenever I cannot be home, I will attempt to perform the activity wherever I happen to be)”. The length of time Acconci manages this activity each day of the month is listed on two the flyers. The activity was performed in February, April, July and November of 1970. Present here are the flyers for all but the July performance. Three unique proposals for multimedia installations. (1975). Three sets of stapled sheets, rectos only. Three original proposals by Vito Acconci for installations that remained unrealised. The proposals, each with original drawings, were mailed by Acconci to Ira Licht, then curator at the Museum of Contemporary Art Chicago, in April 1975. Licht was the organiser of the famous Bodyworks show in Chicago (March-April 1975) of which Acconci was a major participant. The three unique proposals each consist of a typed descriptive text (occasionally with corrections), stapled together with either one or two full-page sketches of the installation layout, executed in black-felt-tip pen. Shots in the Dark - “A structure 20 feet long, 3 feet wide, and the height of the existent room ceiling … the two walls are apainted black, inside and out; the entrance is covered by a black curtain. Inside, on the rear wall, is a slide projector on a shelf - it shoots at the viewer, projects an image on his body. Ther’s a tape Otherer, a speaker on the rear wall … the peaker addresses the viewer. My voice - the voice is crazy, like a voice in a fun house gone out of control” (this proposal has 2 original drawings attached) Snapshot - “A small black room or box … its entrance is covered with a black curtain - the room is free-standing, preferably near the middle of a room … Inside: a slide projector on the rear wall, facing the entrance - it shines on the viewer, on his face and chest - it puts him in the spotlight, on the spot. There’s a tape Otherer, the speaker on a side wall - like a whisper in the viewer’s ear. My voice - the voice is insinuating, cajoling, sneaky - it’s as if the viewer is having his snapshot taken, in a photo booth” (with single drawing attached) Beast Within (temporary title) - “A black box, 5 foot cube - free-standing, preferably near the center of the room. Entrance is covered with a black curtain. Inside the walls are white, but a green spotlight covers everything - there’s a cage-like structure composed of rope … the viewer could squeeze in, but with some difficulty. A tape Otherer, two speakers - one is in a louder voice, the other more whispering … My voice, changing tones: I admit to the viewer that I want to trap him - I want to trap him in memory, in history, in myth, in politics” (with single drawing attached). Original design sketches for Acconci’s installation at the Bodyworks exhibition, Museum of Contemporary Art, Chicago 1975. (1975). Notes (30 x 30 cm), folded; maquette (18 x 23 cm). Notes and sketches made by Acconci in pencil on a sheet of transparent crystal paper, providing design and installation instructions for his contribution to the Bodyworks show in Chicago. Includes notes on the construction of a panel facing a wall, and the use of pinned black paper and acetate sheets to cover the walls, with two small side and perspective view drawings. Accompanying the notes is a small-scale maquette for the interlocking acetate wall panels, here made from numbered and taped sections of crystal paper. Notes (30 x 30 cm), folded; maquette (18 x 23 cm). Was Here - original text proposal for a performance. (1975). (28 x 21.7 cm). Single sheet. Acconci’s initial notes on a proposed, yet apparently unrealised performance piece. Written in pencil on a single sheet of card, in his trademark all-capital letter script: “What I am structurally dealing with in this piece is making and breaking straight lines, similar to the planets lining up in 1975. There is almost always more than one thing going on at one time, seemingly unrelated to one another … at one point on the piece these three things are occurring: “ITT” is written in lights on the billboard, a voice on the tape Otherer is saying ‘I tee tee, I tee tee’, and on the video tape I’m seated making a gesture with a light bulb related to what catholics do when they finish praying.” [ The following six sets of performance documentation ( a – f ) were submitted by Acconci to Ira Licht in October 1976. Licht was then co-ordinator at the National Endowment for the Arts (NEA) in Washington, D.C. Of note, Acconci was to successfully gain the first of his NEA Fellowships in 1976. ] a. Ballroom. November 1973. Sheets (28 x 21.6 cm); photos (20.6 x 25 cm). 15 sheets printed rectos only, including 2 loose and the remaining stapled together in two tranches + two original black-and-white photographs. The last public performance of Acconci, ‘Ballroom’, took place in November 1973, at the Galleria Schema in Florence: “The situation is that of a dance hall: five sets of white tables and chairs are arranged in a circel around the ‘dance floor’ - three spotlights shine down from the ceiling onto the floor. In The background, a loop tape: my voice humming Al Jolson’s ‘Anniversary Song’ - the way you would hum something absentmindedly, while going about your business. I’m walking, shuffling, slowly, around the dance floor, from spot to spot. I’m turned inward - that is, it’s more that I’m reflecting on something rather than putting on a show.” Presented here is the original printed documentation regarding Acconci’s ‘Ballroom’ performance. Consists of a photostat of Acconci’s original drawing of the installation, noting the positions of the spotlights and audio tape machines, as well as the artist’s own positions within the space; a single sheet with Acconci’s typed artist statement regarding the work (on Sonnabend Gallery headed paper); one 10-page transcript of the audio performance, and another 3-page description of the second part of the performance. Also present are two original black-and-white photographs of Acconci performing the work. Each photograph measures 10 x 8 inch, the first with four stills from the first half of the performance, the other with six stills from the second half of the performance. Each photograph with the Sonnabend Gallery title label pasted to verso. b. Scenes from This Side of the Camp. November 1973. Sheets (28 x 21.6 cm); photo (20.6 x 25 cm). 19 sheets printed rectos only, including 3 loose and the remaining stapled together in three groups + one original black-and-white photograph. ‘Scenes from This Side of the Camp’, took place between November 1973 and February 1974, at the Galleria Contemporanea in Rome. The installation consisted of built constructions, audiotapes and slide projections: “The situation is that of a guerilla war-camp. In the middle, there’s a circle of sand-bags; inside the circle the floor is covered with saw-dust - and a place to gather in … To the right, there are four sleeping bags in a niche covered with sand and dirt; a saw-horse lies on its side, a slide projector positioned on top of it, like artillery … at the circle of sand-bags, there’s loop tape: I’m talking, humming - I’m alone, lulling myself to sleep”. Presented here is the original printed documentation regarding Acconci’s ‘Scenes from This Side of the Camp’ performance. Consists of a photostat of Acconci’s original drawing of the installation; a single sheet with Acconci’s typed artist statement regarding the work (on Sonnabend Gallery headed paper); two transcripts of the audio-tapes, one 3 pages in length, the other 10 pages; and a four-page list of the slogans on the projected slides. Also present is one original black-and-white photograph of Acconci performing the work. The photograph measures 10 x 8 inch, and has five stills from the performance. The photograph with the Sonnabend Gallery title label pasted to verso. c. Command Performance. January 1974. (28 x 21.6 cm). 14 sheets printed rectos only, including 2 loose and 12 stapled together. In ‘Command Performance’, a video work installed at the 112 Greene Street space in New York in January 1974, Acconci attempted to replace himself with the viewer. In the performance he lied on his back with the camera gazing down on him and began an incantation, attempting to seduce the viewer to take his place in the spotlight: "You're there where I used to be. I don't have to be there anymore. You can do it for me now... Oh, you didn't expect this, did you baby? You're used to the way it was." As the tape progresses, Acconci, humming and singing to himself, is driven further and further into his fantasy. "Now you're in the spotlight. You'll do everything I want, my little puppet, my little dancing bear." In the installation of Command Performance, the audience was confronted with an empty stool in a spotlight; Acconci, exhorting the viewer to take his place, was present only on a video monitor. Presented here is the original printed documentation regarding ‘Command Performance’. Consists of a photostat of Acconci’s original drawing of the installation, noting the position of the camera, stool, spotlight and monitor; a single sheet with Acconci’s typed artist statement regarding the work; and an 11-page transcript of the videotape Othering. d. Intermediaries (Sound-Track for a Self-Image). May 1974. Sheets (28 x 21.6 cm). 30 sheets printed rectos only, including 2 loose and the remaining stapled together. ‘Intermediaries (Sound-Track for a Self-Image)’, was an Acconci Installation at the Galleria Forma, Genoa, May 1974. The installation consisted of built free-standing walls within a gallery space and corridor, furniture, audiotape, and projected slides: “The room is treated as a projection booth, blown up out of proportion. There are three slide projectors in corners, intersecting each other and shooting images onto the walls - the image is large, it stretches up onto the ceiling, flows down to the floor. there are images of myself; they seem posed, somewhat studied … my face is in close-up, caught from below, it’s too white, as if I’ve been trapped, or as if I’ve become a ghost. It’s the corridor, at the side, that provides a voice, a sound-track. There are four more free-standing white walls, extending diagonally from the actual walls, down the length of the corridor - they make a slace you have to weave around, go in and out of. The space is used, literally, as a track of sound: there’s a stereo tape Otherer - each speaker is placed on a wall which, in turn faces an empty wall, as if to buffer the sound”. Presented here is the original printed documentation regarding Acconci’s ‘Intermediaries’ installation. Consists of a photostat of Acconci’s original drawing of the installation; a single sheet with Acconci’s typed artist statement regarding the work; and a 27-page transcript of the audiotape Othering. e. Views of a Forced Landing. May-June 1974. Sheets (28 x 21.6 cm); photo (20.6 x 25 cm). 16 sheets printed rectos only, including 2 loose and the remaining stapled together + one original black-and-white photograph. ‘Views of a Forced Landing’, was Acconci’s contribution to the group exhibition Art now 74: a celebration of the American arts, held at the John. F. Kennedy Center for the Performing Arts, Washington, D.C., May 30 through June 16, 1974. The installation consisted of built wooden bunker with stairs and netting, spotlight, audiotape, and projected slides: “The situation is war. The wooden structure resembles an army bunker - eight feet high, eight feet long, eight feet wide … Entrance is around the back, a doorway two feet wide and less than six feet high. So you have to duck to go in, and immediately you’re faced with a choice: one step in, right in front of you, is a stairway that goes up to the top … if you choose not to go up, you can squeeze around the stairs, go under some overlapping sheets of mosquito netting - the feel here is vaguely tent-like, possible swamp-like - beneath the netting there’s a mat to fall into, lie on, crawl over into a corner. There’s a tape Otherer … it’s a kind of opera, as set of motifs - the sound switches from speaker to speaker, from low place to high place”. Presented here is the original printed documentation regarding Acconci’s ‘Views of a Forced Landing’ installation. Consists of a photostat of Acconci’s original drawing of the installation; a single sheet with Acconci’s typed artist statement regarding the work; and a 13-page transcript of the audiotape Othering. Also present is one original black-and-white photograph of the installation. The photograph measures 10 x 8 inch, and is divided into five stills. The photograph with the Sonnabend Gallery title label pasted to verso. f. Memory Box III: (Vanishing Point). July-August 1974. Sheets (28 x 21.6 cm); photo (20.6 x 25 cm). 20 sheets printed rectos only, including 2 loose and the remaining stapled together + one original black-and-white photograph. ‘Memory Box III: (Vanishing Point)’, was Acconci’s contribution to the group exhibition 'Project '74. Aspects of International Art in the Early 1970s' held at the Kunsthalle and Kölnischer Kunstverein in July/August of 1974 in Cologne. The exhibition was staged to mark the 150th anniversary of the Wallraff-Richartz-Museum. Acconci’s installation consisted of built wooden construction with audiotape, and projected slides: “A wedge-shaped wooden structure, 25 feet long, 7 feet by 7 feet at the front and tapering off to 2.5 feet at the back, on the floor. Inside there’s a funnelling toward the other end: a foam mattress lies at the back, squeezed in between the converging sides. There’s an audiotape, my vioce at the head of the mattress, speaking in the first person; this is a place meant for me - a place where I could drive myself under, make myself passive, receptive. The walls lose their soloidity: a slide projector, at the head of the mattress, projects slides up acorss the ceiling, changing quickly, stretching from back to front, washing over the sides”. Presented here is the original printed documentation regarding Acconci’s ‘Memory Box’ installation. Consists of a photostat of Acconci’s original drawing of the installation; a single sheet with Acconci’s typed artist statement regarding the work; and an 18-page transcript of the audiotape Othering. Also present is one original black-and-white photograph of the installation. The photograph measures 10 x 8 inch, and is divided into five stills. The photograph with the Sonnabend Gallery title label pasted to verso. (Proposal for): Umbrella City. 1982. (28 x 21.7 cm). 20 sheets printed rectos only, stapled together in two groups + one original signed typed letter. Vito Acconci’s xeroxed proposals for his Umbrella City installation at Documenta VII in the Friedericianum Museum, Kassel in 1982. Includes sheets of typed explanatory texts as well as xeroxed drawings by Acconci. Consists of a copy of the 13-page original proposal, as well as a 7-page revised proposal. The need for two proposals is explained by the presence of a covering letter from Acconci addressed to Ira Licht, then Director of the University of Miami's Lowe Art Museum. This original typed letter, dated May 26, 1982, is signed in pen by Acconci. In the letter Acconci describes the quandary he finds himself in: “For this year’s DOCUMENTA, I was scheduled to an existent piece indoors and a new piece outdoors. The budget for the outdoor piece was $10,000. The piece I proposed was UMBRELLA CITY, the plan of which I’ve enclosed with this letter. Recently I was informed by DOCUMENTA that they had gone over budget, there was no money available for the new piece. Then that staement was revised: there was $1500 available. In my desire to get the new piece done, I decided I would try it: do one of the houses of the Umbrella City or, more likely, do a revised and smaller version [sic] of the city itself (I’ve enclosed this plan also). but the problem is: it’s clear that the piece can’t be done well for $1500”. Acconci goes on to ask Mr Licht for $5000 to complete the project, explaining that, in return, the person giving the money would end up being the owner of the piece after the show. Acconci hopes Mr Licht would forward this request to Martin Margulies, a major Floridian art collector. It is not know if any monies were given, with Acconci himself noting it was “a very far-fetched proposition”. However, it is interestong to note that the smaller revised proposal was the one that was eventually constructed at Documenta. Biographical flyer for: Way Station I (Study Chamber). (Middlebury, VT). 1983. (35.5 21.7 cm). Single sheet, printed both sides, folded. Acconci, famed initially for his videos and performance pieces, was invited to Middlebury College, Vermont for the 1982-83 school year to teach a class titled “Art in Public Places.” He and his students jointly assembled “Way Station I (Study Chamber),” an intricate work roughly the size of a phone booth that was installed along a walkway linking dorms and academic buildings. The work sparked immense controversy on the college's campus, and was eventually set on fire and destroyed in 1985. This printed flyer, produced for the work’s installation, contains a list of Acconci’s solo exhibitoins, his wrtings, plus a short biographical essay by the artist himself.

Price Upon Request

Noboyoshi Araki
Shashin gekijo: Tokyo ereji (A Photo Theater: Tokyo Elegy), 1981
1774

Paperback with illustrated dust-jacket and bellyband. Text by Shunji Ito and Kazuo Nishii. 1045 photographs shot between 1967 and 1972. Conceived by Araki. Here we see, for the first time, the themes of violent sexual practices and, in particular, of bondage so often present in the artist's work. The book combines black and white and colour imagery, with close-ups and wide angle shots, interior and landscape, frequently laid out in mosaic form. Tokyo Ereji was not published until ten years after its conception and realisation (1964 - 1972).

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Artist Collective
Miriorama 12,1962, 1962
3869-BK

7 3/4 x 7 3/8 in. (20 x 19 cm)

ANCESCHI, BORIANI, COLOMBO, DEVECCHI, VARISCO - GALLERIA DEL CAVALLINO

In 1959 Giovanni Anceschi, Davide Boriani, Gianni Colombo, and Gabriele Devecchi meet each other at the Academy of arts of Brera, where they take part to the experiences of the Milan avant-garde of those years. They participate with Piero Manzoni and Enrico Castellani to the organization and the activities of the galleria Azimut. Here they meet, among others, Heinz Mack, Enzo Mari, Manfredo Massironi, the group Motus (later known as GRAV), with whom they reunite for the activities of Programmed Art and New Tendencies.



On September 1959 they exhibit mixed material and monochrome artworks at galleria Pater in Milan. After becoming fully aware of the tendency towards a tabula rasa, which was typical to the visual arts of those years, they felt the need to take this trend to its extreme consequences and to overcome it through the actions of what had become, in fact and since long, a group. During a “constant seminar” made of discussions – mostly held at the tables of bar Titta in Brera –, Boriani proposes to the group the production of “variable works”, “in four dimensions”, where the time component is perceivable in the unpredictable and irreversible variation of the image. The variation is obtained through the movement that modifies the spatial structure of the artwork over time. This proposal opens a phase of collective debate, which produces a series of scenarios. Firstly, the need of a random component emerges, in order to break the cyclical mechanical movement. This implies to allow the audience to actually intervene in the work. Involving the different contributions, the group prepares a series of programmatic texts with a strong philosophical side. These positions are summed up in the declaration “Miriorama 1” of October 1959, which can be described as a theoretical platform and a technical manifesto. Gruppo T (Anceschi, Boriani, Colombo, Devecchi) is founded on these bases. The collective and solo manifestations of the group are all entitled “Miriorama” (never-ending visions, from the Greek “orao”, to see, and “myrio”, which denotes a nearly uncountable quantity), numbered consequently (1-14) in order to stress the continuity of a shared program, which guides the work of the group for many years.



Referring to unrealized utopias proposed by historical avant-garde movements, Gruppo T has opened research scenarios and new operational methods. They started by producing works, both collective and individual, based on the effects of variation in material, surface, color, etc. These works employing novel methods, techniques, and material, are a sort of “fields of happenings”, without any personal sign of the artist, and open to the intervention of the audience.



Miriorama 1, the first manifestation of the group, was organized in January 1960 at galleria Pater in Milan. On this occasion the Declaration was published. Four solo exhibitions followed, one per each artist of the group (Miriorama 2 to 5).



Miriorama 6 in 1960 is the second group exhibition and marks the presence of Grazia Varisco as a new member of the group.



On the occasion of Miriorama 7, at galleria San Matteo in Genua in 1960, the second theoretical declaration of the group was published: it is a text where the word Miriorama is repeated never-endingly. At Miriorama 8 in 1960, Gruppo T exhibits an edition of ten copies of five multiples, numbered and signed, at the shop of Bruno Danese in Milan (the multiples were re-edited by Alessi in 2010). For Miriorama 9 in 1961, Gruppo T sends fifteen ultra-light artworks to Minami gallery in Tokyo, upon the invitation of the artist Shuzo Takiguchi. Miriorama 10 in 1961 at galleria La Salita in Rome was accompanied by a text by Lucio Fontana. Miriorama 11 at Studio N in Padua in 1962 featured a presentation by Bruno Munari. The catalogue of Miriorama 12 at galleria del Cavallino in Venice in 1962 was a folding combinatory poem by Nanni Balestrini.



Gruppo T presents “programmed graphics with cybernetic criter

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Artist Collective
La Lune En Rodage *complete set, 1961
13346-BK

12 5/8 x 12 3/4 in. (32.3 x 32.4 cm)

Basel. Editions Panderma. 1961, 1965 & 1977.
3 volumes. Each volume bound in original hessian-backed printed imitation wood veneer, fastened with metal bolts. Each volume with a small bas-relief mounted on upper cover (Vol.1 - metal relief by Gio Pomodoro, vol.2 - plexi relief by Talman, vol. 3 - relief by Getulio Alviani).
The complete three-volume set of one of the most ambitious and important contemporary art portfolios of the post-war era. The volumes contain a combination of original and editioned works, and bring together many of the most cutting-edge avant-garde artists of the age, giving them the opportunity to work in mediums that in many cases they had not previously. The variety of original artwork ranges from drawings, gouaches, and collages, to graphics, photographs, sheets of letterpress text, music etc., with each work tipped onto thick card leaves of varying colors. The majority of the works are individually signed.
Artworks of note in the collection are Piero Manzoni's only editioned multiple (a cork print), a unique ‘concetto spaziale’ punched drawing by Lucio Fontana, Enrico Catellani's first multiple, a watercolor collage by Hundertwasser, a unique smoke drawing by Otto Piene, a unique torn collage by Jacques Villeglé, and other pieces by Arman, Jean Arp, Man Ray, Dieter Roth, and Victor Vasarely.
Each volume was published in an edition of 215 copies. Complete intact sets of La Lune en Rodage rarely appear, primarily because, just by their nature, the majority of copies have already been broken up for their constituent parts.
Volume 1: with 42 graphic works including engravings, gouaches, collages, drawings and photographs, including the original watercolour collage signed by Hundertwasser, 1 original signed painting in mixed media (gouache, pastel and charcoal) by Antonio Lino, one unique drawing by Lucio Fontana, dated and signed. Most of the other works are signed by the artists: Yoran Cazac, Bazon Brock, Carlo Belloli, Benjamin Péret, Toyen, Raymond Hains, Sigismond Kolos-Vary, Victor Vasarély, Piero Heliczer, Peter Vogel, Markus Prachensky, Herbert Schuldt, Humbert, Pierre Gripari, Hammarberg, Enrico Castellani, Hansjorg Mattmüller, Guerdon, Man Ray, Roberto Crippa, Eugène Ionesco, Francois Béalu, Onorio, P.A. Benoit, Meret Oppenheim, Renate Axt, Carl Laszlo, Lora, Bill von Bredow, Christianna Thias, Otto Piene, Rolf Fenkart, Heinz Mack, Esther Wirz, Bischof, Chr. Schmidt, Bischoffshausen, Enrico Baj, Herchenröder, Brauer, Hans Platschek, Rippstein, Franz Fedier, Arman, Nico Taratès, Fat Charrière, Milet, Jean Cocteau, Lucien Clergue, Arnulf Rainer, Childs, Wolfgang Hollegha, Josef Mikl, Nina Mayo, Peter Brüning, Bruno Munari, Jean Arp, Michel Cardenas, Rene Mächler, and Camille Bryen;
Volume 2: with 56 graphic works including etchings, gouaches, watercolors, collages and drawings, including 1 original collage signed by Walter Leblanc, 1 original collage signed by Hermann Goepfert, and 1 original drawing signed by Dieter Roth. Most of the works are again signed by the artists, who include Victor Vasarély, Hundertwasser, Friedrich Schröder Sonnenstern, Sigurd Kuschnerus, Walter Leblanc, Giuseppe Capogrossi, Edmondo Bacci, Genevieve Claisse, Hermann Goepfert, Christian Megert, Lucio del Pezzo, Zoltan Kemény, Hsiao Chin, Liliane Lijn, Dieter Roth, Giovanni Macciotta, Paul Wunderlich, Francois Dufrêne, Carl Reuterswaerd, Francisco Sobrino, Gianni Bertini, Thomas Bayrle, Hans Peter Alvermann, Gunther Uecker, Jacques Villeglé, Francois Morellet, Kassák, Lajos Weber, Rene Bertholo, Kaspar Thomas Lenk, Eduardo Alcoy, Alberto Biasi, Arnold Leissler, Piero Dorazio, Jean-Pierre Yvaral, and Carlo Belloli.
Volume 3: with 54 graphic works, most signed by the artists - includes works by Timm Ulrichs, Marcello Morandini, Erich Buchholz, Willy Müller-Brittnau, Floris Michael Neusüss, Thomas Ring, Christian Schad, Yves Laloy, Augustin Tschinkel, Imre Kocsis, Markus Raetz, Lajos Kassák, Getulio Alviani, Enzo Cacciola, Thilo Maatsch, Otto Nebel, Peter Stämpfli, Fifo, Edmund Kesting, Gianni Colombo, Jorrit Tornquist, Walter Dexel, Lou Loeber and Michael Ashur.

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W., & G. Audsley
Polychromatic Decoration as applied to Buildings in the Mediaeval Styles., 1882
304

Folio. Publisher's cloth. viii, 32 pages, 36 plates each with unnumbered text leaves. First edition. [McLean, Victorian Book Design, pages 133-134; Hauck, 50.] This was the first authoritative English language guide to the use of medieval design. The authors were practicing architects in Liverpool and wrote the book to meet the growing demands of the gothic revival movement. The book was an instant success. Some of the Audsleys designs were directly copied to wallpaper and stencils. The thirty-six plates are fine chromolithographs by Firmin-Didot, Paris, the best color printers of the time.

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John James Audubon
The Birds of America, from Drawings Made in the US and their Territories, 1840-1844
283

Philadelphia: J. B. Chevalier, [1839-] 1840-1844., 1844. 7 volumes. 8vo., (10 1/8 x 6 4/8 inches). Half-titles, subscribers' lists at end of each volume. 500 hand-colored lithographed plates after Audubon by W.E. Hitchcock, R. Trembly and others, printed and colored by J.T. Bowen, wood-engraved anatomical diagrams in text (intermittent offsetting and spotting, particularly to the tissue guards and corresponding text leaves at the beginning and end of each volume). Bound in full red morocco gilt, elaborately decorated in gilt (extremities a bit rubbed). The first octavo edition of John James Audubon's masterpiece, a tall copy with colors very clean and fresh. The resulting series of 500 plates constitutes the most extensive American color-plate book produced up to that time.

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Christian Boltanski
First original maquette for: Les Modèles. Cinq relations entre texte et image., 1979
13454-BK

8 5/8 x 6 1/4 in. (22 x 16 cm)

Paris. (The artist). Sheets loose in a paper wrapper, with the title “première maquette” handwritten in blue pencil on front, and with
the artist’s pencil rendering of a buckle and strap closing mechanism.

Les Modèles was an artist's book/catalogue published by cheval d’attaque in 1979 on the occasion of Boltanski’s exhibition in the Maison de la Culture de Chalon-sur-Saone. In the published catalogue, five earlier book works by Boltanski were reprinted, with three having being published previously, whilst for the two other books, this was the first time they appeared in print.
The books reproduced in the catalogue were: Recherche et présentation de tout ce qui reste de mon enfance; Tout ce que je sais d'une femme qui est morte et que je n’ai pas connue; L’appartement de la rue de Vaugirard; 10 portraits photographiques de Christian Boltanski, 1946-1964; and Les Histoires.
Here is Boltanski’s first handmade maquette for Les Modèles consisting of 67 loose sheets, 22 x 16 cm format, and includes the handwritten titles and legends as well as all the original photographs that composed some of Boltanski's earliest artist books.

Collation as follows:

11 preliminary sheets, including handwritten half-title, title, and collaged publisher’s imprint;
Recherche et présentation de tout ce qui reste de mon enfance - handwritten title and 8 original silver print photographs (16.8 x 11 cm), cut and glue-mounted on sheets of Vidalon paper, each photograph framed in pen. ‘Recherche et présentation de tout ce qui reste de mon enfance’ was Boltanski’s first artist’s book, originally published in 1969 utilizing photocopies of the same photographs presented here in the maquette. The photographs include a class photo in which Boltanski features in the upper row, second from the left, a piece of his sweater, a shirt etc. In reality, several of these allegedly personal relics belonged mostly to his brothers and nephews;
Tout ce que je sais d'une femme qui est morte et que je n’ai pas connue - three preliminary leaves including handwritten title & 5 offset printed black-and-white photographic images pasted onto Vidalon sheets, handwritten numbering in pencil beneath. Originally self-published by Boltanski in 1970, these five images reproduce photos of an anonymous family (the photos had been given to Boltanski by the Colombian artist Luis Caballero, who had found them in his studio);
L’appartement de la rue de Vaugirard - preliminary leaf with handwritten title, blank leaf & 10 original silver print photographs (each 7 x 10 cm), cut and glue-mounted onto sheets of Vidalon paper, each sheet numbered in pencil. The photographs were taken from a film shot by Boltanski in an empty apartment on Rue de Vaugirard;
10 portraits photographiques de Christian Boltanski, 1946-1964 (originally published 1972) - two preliminary leaves, one with handwritten title, blank leaf & 9 original silver print photographs (each 14 x 9.8 cm), cut and glue-mounted onto sheets of Vidalon paper, each sheet numbered in pencil. With this series of photographs Boltanski in fact got strangers and friends’ children to pose, except for the last photo which is alleged to show the artist at the age of twenty, when he was in fact twenty-eight;
Les Histoires - two preliminary leaves, one with handwritten title, & 9 original silver print photographs (each 6.5 x 9 cm), cut and glue-mounted onto sheets of Vidalon paper. Each photograph framed in pen, and each sheet numbered in pencil. Here Boltanski utilizes a series of photographic images from a children’s story book, here presented devoid of the artist’s deadpan text captions which were to accompany each photograph in the final published version.
[Ref. Bob Calle - Christian Boltanski Artist’s Books 1969-2007, pp. 12, 16, 26/27, 30/31, 33 (original editions of the five books); p. 124 (reference for Les Modèles)].

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Christian Boltanski
Maquette for: Les Modèles. Cinq relations entre texte et image., 1979
13455-BK

7 3/4 x 4 7/8 in. (20 x 12.4 cm)

Paris. Sheets loose in a paper wrapper, with the author’s name and the title “Livre de Lecture” handwritten in pencil on front, together with a pasted down original silver print photograph depicting a still-life from a children’s party.

Les Modèles was an artist's book/catalogue published by cheval d’attaque in 1979 on the occasion of Boltanski’s exhibition in the Maison de la Culture de Chalon-sur-Saone. In the published catalogue, five earlier book works by Boltanski were chronologically reprinted, with three having being published previously, whilst for the two other books, this was the first time they appeared in print.
The books reproduced in the catalogue were: Recherche et présentation de tout ce qui reste de mon enfance; Tout ce que je sais d'une femme qui est morte et que je n’ai pas connue; 10 portraits photographiques de Christian Boltanski, 1946-1964; L’appartement de la rue de Vaugirard; and Les Histoires.
Presented here is a preliminary handmade maquette for Les Modèles, constructed by Boltanski who in fact gave it the title of a “livre de Lecture” or reading book. It consists of 28 lined graph cards, 20 x 12.4 cm format, and includes the handwritten half-titles and page-numbering, as well as collaged printed texts and original photographs that composed some of Boltanski's earliest artist books.

Collation as follows:

1 preliminary sheet of Vidalon paper with titles in pencil and pasted-down original photograph (5 x 9.5 cm) showing a child’s toy beach ball; half-title on lined graph paper, with titles in pen and pasted down silver print photograph; Recherche et présentation de tout ce qui reste de mon enfance - handwritten title and 8 original silver print photographs (each approx. 12.4 x 8.4 cm), cut and glue-mounted onto four sheets of graph card. ‘Recherche et présentation de tout ce qui reste de mon enfance’ was Boltanski’s first artist’s book, originally published in 1969 utilizing photocopies of the same photographs presented here in the maquette. The photographs include a class photo in which Boltanski features in the upper row, second from the left, a piece of his sweater, a shirt etc. In reality, several of these allegedly personal relics belonged mostly to his brothers and nephews;
Tout ce que je sais d'une femme qui est morte et que je n’ai pas connue - handwritten title & 5 offset printed black-and-white photographic images cut and glue-mounted onto five sheets of lined graph card. This maquette also includes Boltanski’s printed texts which accompany each of the images (the sections of printed text are cut and pasted onto versos of each card). Boltanski’s deliberately neutral comments describe each of the pictures as if it was a certified report. Originally self-published by Boltanski in 1970, the five images reproduce photos of an anonymous family (the photos had been given to Boltanski by the Colombian artist Luis Caballero, who had found them in his studio);
10 portraits photographiques de Christian Boltanski, 1946-1964 (originally published 1972) - handwritten title, blank leaf & 7 (of 9, seemingly lacking page 31/32) offset printed black-and-white photographic images cut and glue-mounted onto four sheets of lined graph card. Beneath all but one of the images Boltanski has also crudely cut and pasted his printed captions. With this series of fake autobiographical photographs, Boltanski in fact got strangers and friends’ children to pose for the images;
L’appartement de la rue de Vaugirard - handwritten title and 8 (of 10) original silver print photographs (each approx. 5.9 x 8.3 cm), cut and glue-mounted onto five sheets of lined graph card. The photographs were taken from a film shot by Boltanski in an empty apartment on Rue de Vaugirard;
Les Histoires - handwritten title, & 10 original silver print photographs (each approx. 6 x 8 cm), cut and glue-mounted onto six sheets of lined graph card (includes an extra photograph, with the final published version of the book only utilizing nine photographs). Boltanski here utilizes a series of photographic images from a children’s story book. The maquette also includes the artist’s deadpan text captions which were to accompany each photograph in the final published version, here handwritten in pen beneath each photograph.
[Ref. Bob Calle - Christian Boltanski Artist’s Books 1969-2007, pp. 12, 16, 26/27, 30/31, 33 (original editions of the five books); p. 124 (reference for Les Modèles)].

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Jean-Marc Bustamante
Maisons Pour Insomniques, 2003
2041

vol. 1 Jean-Marc Bustamante photographs Mario Bellatin text Konstantin Grcic case The photographs, taken in 2003, during one of Jean-Marc Bustamante’s travels in Uruguay, are the outgrowth of a recent projects-in-the-works by the artist, Something is Missing, which carries the leitmotiv of journeying and wandering freely. The five photos chosen for the work form a compact module directed toward livable and lived in spaces, houses for insomniacs. Here Mario Bellatin is striving for a reconstruction of Kafka’s Metamorphosis, evoking a single episode for each house, a topographical insomnia. The designer Konstantin Grcic chose black foam 10 cm thick for the casing, burning its surface to achieve the effect of access routes and tight asphalt turns – the photographer’s favorite theme. The text appears in blocks of varying sizes of type whose outline forms a border inspired by the drawings of houses. Jean-Marc Bustamante Jean-Marc Bustamante was born in Toulouse, France, in 1952. From 1977 to 1982, he produced more than 130 photo canvases–landscapes of the outskirts of Barcelona– exhibited for the first time in 1994 at the Kunsthalle in Berne. His work has been exhibited in numerous museums, most notably at La Galerie Nationale du Jeu de Paume in Paris. In 2003, he represented France at the Venice Biennial. Mario Bellatin Mario Bellatin was born in 1960 in México City where he currently lives. He had his first five books published in Perú. His work, translated into German, English and French, is as difficult to decipher as his biography, a life he likes to invent through the course of his various interviews and encounters. His writing, infused with the Japanese aesthetic and photography, stands out for its radical minimalism. Konstantin Grcic Born in Germany in 1965. After his studies at London’s Royal College of Art, Konstantin Grcic worked in Jasper Morrison’s studio before moving to Munich where he opened his own agency in 1991. His modular furniture, developed over the last few years mainly for Classicon and Magis, are among the designs that make him a major figure in contemporary design. In 2001, he received the Compasso d’Oro for his lamp Mayday. Description: 5 original signed photographs (chromogenic prints), set in photo-corners Case made of foam and plastic sheets 58,5 x 43 x 10,8 cm Text in Spanish and French Limited edition of 30 copies October 2003 Graphic design: Olivier Andreotti

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John Cage
Musica presents the music of John Cage. White Label. White album cover with title label mounted, 1958-1966
13368

John CAGE. A Collection of Vinyl Otherings. c.1958 - 1966. Musica Presents The Music Of John Cage - a privately pressed vinyl, with white labels and printed title labels affixed to both sides. Housed in the original card sleeve again with title information label pasted to front. Although many of these Otherings appear on later Others, this mythical Other, probably privately issued in the late 1950s, includes the first published Otherings of some Cage compositions: 4 Sonatas For Prepared Piano, Construction No. 1 In Metal, Music For Carillon, Imaginary Landscape No. 1, Wiliams Mix, and Excerpt From Concert For Piano And Orchestra. Conductor on the Otherings was Carl Bjornsson, with Tove Ullman on the carillon, and Gunnar Westberg on piano; Concert Percussion For Orchestra. (Time Others, 1961). Includes John Cage’s Solo for Prepared Piano, Trio (Tom-Toms, Pod Rattle); Luciano Berio, E. E. Cummings. Circles. Sylvano Bussotti, Frammento. John Cage, Aria With Fontana Mix. (Time Others, 1962). Fontana Mix is a piece for magnetic tape, consisting of electronic tape manipulation and concrete sound material, created and realized by Cage; John Cage, Christian Wolff. (Time Others, 1963). Includes Cartridge Music (1960), Duo for Violinist and Pianist (1961), Summer for String Quartet (1961), and Duet II for Horn and Piano (1961); John Cage With David Tudor presents Variations IV. (Everest Others, 1966). From a live performance at the Feigen-Palmer Gallery, Los Angeles.

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Milagros De La Torre
Troubles de la Vue, 2005
808

vol. 2 Milagros De La Torre photographs José Manuel Prieto text Pierre Charpin case This is the first time Milagros De La Torre has approached the field of color photography. For a whole year the artist kept a record of the different bruises – accidental she points out – she detected on her body. She opted for close-up framing in order to reinforce their plastic quality. What they form appears to be sensual and abstract landscapes. Echoes of such a landscape resound in José Manuel Prieto’s text which describes the private love of someone whose sight is diminishing—the metaphysical disorder that comes with his infirmity.

We called upon Pierre Charpin because we felt he would be most apt at entering into dialogue with the artist and the author, being particularly sensitive to the metamorphic quality of their language. The casing is made up of two shells in molded plastic that are fitted together with magnets. The text flows in an oblong shape that requires a circular reading–especially fitting to the nature of José Manuel Prieto’s prose. Milagros De La Torre Born in Lima, Peru, in 1965. Milagros De La Torre lives and works in New York. Her work has appeared in a number of personal exhibitions: Palais de Tokyo (Paris, 1993), Universidad de Salamanca (1997), Museo Carrillo Gil (1999). Most notably her works are featured in the collections of the Museum of Fine Arts (Houston), Fonds national d’Art contemporain (Paris), Museo Nacional Centro de Arte Reina Sofia (Madrid)… José Manuel Prieto Born in Cuba in 1962, José Manuel Prieto lived in Russia for twelve years. He teaches literature in New York where he lives with his family. His first novel, translated into French, Papillons de nuit dans l’empire de Russie, was published by Christian Bourgois in March 2003 and is already considered a classic in Hispano-American literature. Pierre Charpin A graduate of L’Ecole Nationale des Beaux-Arts in Bourges, Pierre Charpin is known for his atypical designs charged with a strong plasticity, making him one of the leading figures in the avant-garde of French design. In tandem with his limited editions, and prototypical studies, he collaborates with various companies as Post Design, Zanotta, Montina, Venini, Alessi… He was awarded Designer of the Year at the Furniture Salon in Paris 2005. Description: 5 original signed photographs (chromogenic prints), set in photo-corners Case made of painted molded plastic 38 x 33 x 3,8 cm Text in Spanish and French Limited edition of 30 copies November 2003 Graphic design: Olivier Andreotti

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Dieter Roth, Emmet Williams, Pol Bury and Daniel Spoerri
MATERIAL 1,2, 2 supl, 3, 5, 1957-1960
5301-BK

8 x 7 3/4 in. (20.5 x 20 cm)

Complete set lacking only the second supplement of Roth to the second volume which consists of blank black and white pages with black cover; otherwise complete; in fine condition.

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Artistes Divers CONTEMPORARY
Zeichnungen Catalogue from 1970, 1970
1115

Baselitz, Beuys, Buthe, Darboven, Erber Palermo, Polke, Richter, Roth, Hamilton.

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Artistes Divers DA
Neue Modernen Firmenschilder, 1909
398

Portfolio of new and modern collection of Trademarks from the time period. Complete with 64 colored plates

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Dieter Roth Drawings
Eine Brucke ( Mosfellsveit 1980) ( a bridge), 1996
1028

11 3/4 x 8 1/4 in. (29.7 x 21 cm)

51 sheets, drawings, colour photocopy, hnadwritten cover. adhesive binding. Published by Dieter Roth's Verlag, Bryggjuhùs Seydisfjördur. Edition 10/10 Numbered and signed. Dobke, Books and Multiples, pg.315. #10/10 and signed in Pencil on cover- #52 kopiebuch- 51 sheets, drawings, color photcopy. 1 of 10 with 2 aps

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Dieter Roth Drawings
13 Brucken 1981, 1994
1025

8 1/4 x 11 3/4 in. (21 x 29.7 cm)

Amsterdam-Basel: 1994. 1 of 10 copies w/2 APs #7/10 and signed in Pencil on cover: #53 kopiebuch 21 x 29.7cm. This is the copy n 7 of 10 copies w/2 APs and signed in Pencil on cover: #53 kopiebuch.

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Dieter Roth Drawings
21 Blumenbilder, 1994
1026

8 1/4 x 11 3/4 in. (21 x 29.7 cm)

#6/12 and signed in Pencil on cover- Basel 17 MAi 1998: #116 kopiebuch

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Dieter Roth Drawings
27 Drawings made on the aeroplane, 1994
1027

8 1/4 x 11 3/4 in. (21 x 29.7 cm)

Signed in Pencil on cover- #40 kopiebuch. 52 sheets, colour photocopy.62 sheets, colour photocopy, handwritten cover. Adhesive binding. Published by Dieter roth's Verlag, Basel. Edition 2 of 10, numbered and signed, roman numbering

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Dieter Roth Drawings
Bats and Dogs, 1981
1232

11 3/8 x 11 3/8 in. (29 x 29 cm)

Bats. 130 two handed drawings offset with an original pencil two handed drawing on last double page. adhesive binding. Dobke, Books and Multiples, pg.198 Dogs. 128 two handed drawings offset with an original pencil two handed drawing on last double page. Adhesive binding. 29x29cm. Dobke, Books and Multiples, pg.199. 130 bi-manual speedy drawings, offsetprint. Edition: 300. Publisher: Dieter Roth's Verlag and Rainer Verlag, Berlin. Artist books - Dieter Roth: offset print with original drawings on the final double pages, signed and numbered. In 1977 Roth created entire series: the series of speedy drawings "Trophies", "Bats" and "Dogs" are made with photographic reproduction and offset print, also in the form of books; these art books are specialized with enclosed original speedy drawings.

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Dieter Roth Drawings
Trophies, 1979
1017

125 TWO-HUNDRED SPEEDY DRAWINGS. 256 pages, offset. Printed by Staib + Mayer, Stuttgart. Published by edition Hansjorg Mayer, Stuttgart, London. German edition: 2 colours, 25 X 18 cm, stitched, softback, with double dustjacket and an original Trophy by the author, signed. 200 numbered and signed copies. English edition: 23 X 17 cm, stitched, hardback in slipcase, with an original Trophy by the author, signed for Eaton House Publishers Ltd. 1000 copies. This is the copy n 41 of 200 . DR. CW. 40 # 90.

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Dieter Roth Drawings
Boeken, 1975
1392

13 x 9 in. (33 x 23 cm)

120 heads by Dieter Roth, 8 heads by Vera Roth. 128 pages, offset, stapled. Printed by Staib + Mayer, Stuttgart. Published by Stedelijk Museum, Amsterdam. 2000 copies. DR. CW. 40 # 82.

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Dieter Roth Drawings
GORGONA, 1966
4075-BK

7 5/8 x 8 1/4 in. (19.5 x 21 cm)

15x10cm. Letterpress and pen on white paper, in paper cover. published by Vlastita Naklada, Josip Vanista, Zagreb. Edition of 200, numbered and signed. Artist's book in the form of issue 9 of11 issues, an anti-magazine which was part of the Gorgona group. Each issue with an original stupiogramme drawing by the artist. The art group Gorgona existed in Zagreb from 1959 until 1966. NOT IN DR. CW. 20.

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Dieter Roth Essays
Essay no. 11, 1989
4058-BK

12 3/4 x 9 1/2 in. (32.3 x 24 cm)

Signed edition 57/150 offset. Printed 24 pages (24 one-sided four-colour laser copies, bound, handwritten title). A4, oversize, stapled, adhesive binding, in plastic transparent folder packaged in a fiberboard envelope bearing an imprinted label.Written in 1988, published in 1989. edited by Dieter Roth. Published by Dieter Roth's Verlag, Basel. Editon B: the essay without poster, edition of 150, 1st prtg.

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Dieter Roth Essays
Die Schastrommel(Organ der osterr Exilregierung), 1973
3461-BK

9 x 6 3/4 in. (23 x 17 cm)

Artists’ periodical edited by Günter Brus, with contributions by Brus, Friedrich Achleitner, Dieter Roth, Gerard Rühm, and Oswald Wiener. Original covers by Dieter Roth. Pictorial wrappers, offset-printed. Sewn bound, black-and-white. [unpaginated]. edition of 1000. Unsigned and Unnumbered . DR. CW. 40 # 91.

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Dieter Roth Essays
Ein Essay: Uber das Verhalten des Allgemeinen zu oder gegennuber dem Besonderen bzw. des Besonderen zu order gegegnuber dem Allgemeinen, 1972
3991-BK

8 5/8 x 6 1/4 in. (22 x 16 cm)

ON THE RELATION OF THE GENERAL TO ORDER A SPECIAL OR THE GENERAL ORDERING A SPECIAL I. E. THE SPECIAL ORDERING A GENERAL. 504 pages, letterpress, stitched, softback, dustjacket, cover design: Jon Hjalmarsson. Printed by Prentsmidja Jons Helgasonar, Reykjavik. Published by edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 200 numbered and signed copies, 20 authors copies . DR. CW. 40 # 58.

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Dieter Roth Essays
2 probleme unserer zeit vin Dieter Rot, 1971
3433-BK

9 x 5 7/8 in. (23 x 15 cm)

60 pages letterpress. stitched softback dustjacket. Printed by Prentsmioja Jons Helgasonar Reykjavik. published by verlag reykjavik. 200 numbered and signed copies. 20 authors copies. This is one of the printer copy so not numbered but signed , dated 21.7.71 and dedicated. DR. CW. 20 # 49.

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Dieter Roth Essays
Eine Frage? ( A question?), 1971
3432-BK

5 7/8 x 8 1/4 in. (15 x 21 cm)

64 pages letterpress. 21 x 15 cm stapled. Publoshed by Verlag, Reikjavik. 200 numbered and signed copies, 50 author copies. This is copy number 120 of 200. DR. CW. 20 # 56.

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Dieter Roth Essays
Franz Eggenschwiler: der Jungling, der Mann, die Zeit, das Werk. ( franz eggenschwiler the young man the man his time his work (until today 2 5 71}), 1971
1393

11 3/4 x 8 1/4 in. (29.7 x 21 cm)

64 pages original rotaprints. 29,6 x 21 cm stapled. Printed by R. May Dusseldorf. Published by edition Hansjorg Mayer Stuttgart. 400 copies. Thereof 130 numbered and signed as introduction to a portfolio of prints by Franz Eggenschwiler.tHIS COPY IN NOT NUMBERED OR SIGNED because is coming from the printer. DR. CW. 20 # 48.

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Dieter Roth Essays
Wer Ist Der Der Nicht Weiss Wer Mozart War, 1971
3474-BK

9 x 6 1/8 in. (23 x 15.5 cm)

ein Essay von D. Rot. Ed. Verlag Reykjavik. 16 pages letterpress. 23 x 15,5 cm stapled dustjacket. Printed by Prentsmioja Jons Helgasonar. Reykjavik. Published by Verlag Reykjavik. 200 numbered and signed copies, 20 authors copies. This copy is one off the printer copy and is not signed. DR. CW. 20 # 55.

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Dieter Roth Essays
wer war mozart ein essay von d. rot. (who was mozart an essay by d. rot), 1971
4315-BK

10 1/4 x 7 1/2 in. (26 x 19 cm)

16 pages letterpress. Stapled dustjacket. Cover illustration p. roesch. Printed by prentsmioja jons helgasonar reykjavik. Published by verlag reykjavik. 200 numbered and signed copies. 20 authors copies. This is the printer copy so unsigned. DR. CW. 20 # 54.

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Brus, Günter; Hermann Nitsch; Dieter Roth; Gerhard Rühm und Oswald Wiener
Music rarely heard. The Berlin concert Sept. 27, 1974, 1974
13365-OR

21 x 21 in. (53.5 x 53.5 cm)

The original draft for an unrealized poster for the Berliner Konzert, by the Selten Gehörte Musik group of artists, composed of original drawings (in pencil and ink) by Günter Brus, Christian Ludwig Attersee, and Dominik Steiger, together with a drawing with collage by Gerhard Rühm, and mounted and overpainted original photographs by Arnulf Rainer and Hermann Nitsch. The poster is circular in design (perhaps mirroring the shape of the records), with each of the artists designated their separate “slice” of the design. Most of the artists have signed or inscribed their contributions. There is an empty section of the poster where the contribution by Dieter Roth should be positioned. On a printed proof of the poster (diameter 48.5 cm), which accompanies the original draft, Roth has written in pencil “bitte zu von H. drübekleben erste” within the blank section.
Also present is the 3-disc boxed set recording of the Berliner Konzert, published by Hansjörg Mayer three years later in 1977.

Selten Gehörte Musik (Rarely Heard Music) developed from workshops in which an intimate circle of friends, Günter Brus, Hermann Nitsch, Dieter Roth, Gerhard Rühm and Oswald Wiener, met together at loose intervals to talk, eat, drink and collaborate on artistic projects. The aim of the workshops was to create a fruitful artistic collaboration over a period of several intense days (and nights). It was during a subsequent visit by Dieter Roth to Berlin, that the desire for a joint musical event was kindled. There followed an uninterrupted two-day session which spawned the record 3 Berliner Dichterworkshop [3rd Poetry Workshop, Berlin] (12-13 July 1973), for which the ‘brand name’ Selten Gehörte Musik was invented. In 1974 the group decided it was no longer enough to document their collaboration on records, but that they had to combine the recording with a public performance. After an initial performance in Munich in May 1974, a further expanded production took place in November of the same year at the Church of the Holy Cross in Berlin.

The Berlin concert differed from the Munich concert by the addition of three extra participants, Ludwig Attersee, Arnulf Rainer, and Dominik Steiger. Arnulf Rainer contributed to the performance by being a silent grotesque face-puller and contortionist. In the meantime, Gunter Brus, whilst blowing the long alpine horn during the performance, momentarily caused himself to lose consciousness.

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Hiroshi Hamaya
Hand, 1990s
1874

10 1/4 x 13 in. (26 x 33 cm)

Printed by Hamaya himself in earky 1990's. With inscription of the title "hand" in Japanese by Hamaya. Fresh condition. This is one of the oldest works taken he was 17. He has destroyed almost all early works long time ago. He will exhibit this work in every exhibition. His works are very difficult to get as he has printed only for exhibitions and for printer's copy for books. Each quantity is very limited. Many of them are unsigned. This copy is unsigned but it is exceptional with the title by Hamaya. The owner bought it from Hamaya in early 1990's. Very nice printing and rare thus.

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Yasuhiro Ishimoto
Chicago Chicago, 1969
2075

First edition of Ishimoto's survey of 1960s urban life in Chicago, with over 200 black-and-white photographic images. "At a time when most of the leading Japanese photographers were actively caught up in their country's volatile political situation, Ishimoto seems deliberately to have maintained his distance, declaring his independence with a body of work that was different in both style and approach?Chicago, Chicago confirms this singularity and the promise shown in his earlier Aruhi Arutokoro. The later book demonstrates a photographer influenced by both Japanese and American sources and adopting neither wholeheartedly? It is arguably more completely realized, thematically tighter than Aruhi Arutokoro? Its old-fashioned, humanist virtues are considerable. Like the earlier work, the book is split into sections, seven of them this time, revealing various aspects of Chicago and two major photographic preoccupations of Ishimoto at the time-the formal urban landscape and the street portrait" (Parr & Badger, 289). Contains a foreword by Harry Callahan, an introduction by Shuzo Takiguchi, and notes by Yusako Kamekura, all in English and Japanese. Without scarce bellyband, rarely found. Book about-fine, slipcase with some foxing and light restoration. A beautiful copy of a scarce book, in original slipcase

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Yves Klein
Le dèpassement de la problématique de l'art., 1959
13373-BK

8 5/8 x 6 5/8 in. (22 x 17 cm)

La Louvière. Editions de Montbliard (Pol Bury & André Balthazar). pp. 32. With 2 hors-texte illustrations in black-and-white. Original plain white wrappers, with titles printed in black on front cover; stapled. This legendary book of disparate texts, printed in a few hundred copies, was initially put on sale with its white cover and very few were actually sold at the time. It remains as the only collection of theoretical art writings by Klein published during his lifetime. After Klein's death the editor trimmed the book slightly and added a blue cover. Copies of this original first edition of the book, in the plain white covers, are thus of some rarity. Although the imprint describes a deluxe edition of 60 copies with a “proposition monochrome d’Yves Klein exécutée à la main et signée par l’auteur”, this was never printed. The book consists of a series of theoretical texts by Klein in which he not only espouses the importance of the ‘blue revolution’, but he also describes how he seeks to free himself from the heaviness of matter, heralding instead a passion for emptiness and space. In the book Klein lists chronologically the phases of his artistic evolution - Composition, Judo, Musique, Peinture, Sculpture, Architecture, Politique. The essays of the book are a surprise combination: a testimony is placed between a theoretical text and a speech, which is in turn followed by a manifesto of political philosophy and its economic developments; the speech that follows again announces a theoretical text, and the book ends with a curriculum vitae and a pedagogical project entitled “Création d’’un centre de sensibilité”. The texts are: “Le dépassement de la problématique de l'Art “Préparation et présentation de l'exposition du 28 avril 1958”, “Discours prononcé après le vernissage de l'époque pneumatique”, “Esquisse du manifeste technique de la révolution bleue”, “Esquisse et grandes lignes du système économique”, “Discours prononcé à l'occasion de l'exposition Tinguely à Düsseldorf (janvier 1959)”, “Exemple de collaboration réalisée, évolution générale de l’art actuel vers l'immatérialisation”, (with Werner Ruhnau, “Ma Systématique d'évolution”, “Yves Klein (dit le monochrome)”, “Histoire personnelle”, “N.B.”, and “Création d'un centre de sensibilité”. Rare only edition. – Although the imprint describes a deluxe edition of 60 copies with a “proposition monochrome d’Yves Klein exécutée à la main et signée par l’auteur”, this was probably never printed.

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Shiba Kokan
Gasu Sairtan, 1803
2288

10 5/8 x 6 7/8 in. (27 x 17.5 cm)

see chapter 36 in Hillier. Shiba Kokan was the outstandiing adventurous spirit in the period of discipline and restriction. He lived from 1738 to 1818 and had a fearlessly inquiring mind. As artist he was the pioneer of copper engraving in Japan, and much influenced by European printing. As a cartographer he produced Japan's first engraved map of the world, on two sheets [a copy of this exists at Culham]. As a scientist he was fascinated by Copernicus and explained his discoveries with text and woodcut. As traveler he disobeyed the rules and made long journeys of inquiry and investigation in Japan. On the present work in five volumes it is simplest to quote from David Chibbett, History of Japanese Printing and Illustration: 'His one major book was Seiyu ryodan, a collection of sketches from his travels, which he published, apparently at his own expense in five volumes in 1790. Revised and enlarged editions of this same work were subsequently published under the titles Gazu seiyu ryodan (1803) and Seiyu nikki (6 vols. 1815). All three works were substantially the same with interesting studies not only of Japanese landscapes (where the use of Western perspective is noticeable) but also various activities of the Dutch, with special emphasis on Dutch sea vessels and whale-hunting'. Here is a fine copy of the 1803 publication, the 'western journey' of Shiba Kokan - his long trek through Japan to Nagasaki. It is an account of his travels with many woodcut illustrations. In the third volume his adventures include the sharing of a whaling expedition, shown in some detail in the woodcuts. We see the shape of the harpoons as well as the closing-in of the small boats, the exceedingly dangerous operation, the beached whale, the carving-up of his carcass, the lugging-away and processing in a factory of the chunks of whale for making oil. Volume four is mostly topographical but also shows a few games, dances and the festival procession with carnival floats in the street. In the last volume we reach the author's climax in the recording of Dutch armament, shipping and merchant life at Nagasaki, and a panoramic view of the enclosed Dutch settlement. We see the strange dress of these western visitors, and an often-reproduced double-page woodcut of the merchant's house with his Dutch chairs and his paintings and chandelier; and a Dutch tombstone in the final pages. This was all heady stuff at the time, forbidden, secret and adventurous. Original blue covers and title labels.

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Dieter Roth Life Line
a Look into the blue tide, 1967
1828

8 1/2 x 5 1/2 in. (21.5 x 14 cm)

Softcover bound in printed orange paper wraps titled in black on the front cover. 16 pages, including the covers, with visual and illustrated text by Diter Rot. Near fine. First edition. This little book printed by Dick Higgins at the Something Else Press is a "sampling from the continuation of die blaue flut ("the blue tide"). DR. CW. 20 # 32. 16 pages offset, stapled. Published by something else-press new york. Series 'great bear pamphlets'. Reproduction of some pages from the manuscript. 'a look into the blue ti·de'

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Dieter Roth Life Line
Die Blaue Flut. "The blue tide", 1967
3850-BK

6 1/4 x 4 3/4 in. (16 x 12 cm)

224 pages letterpress linotypesetting using speciaI font. adhesive binding softback. Printed by Hj. Mayer Stuttgart. Published by edition Hansjorg Mayer Stuttgart. 500 numbered copies. Approx 50 authors copies. Parts of the 1966 diary typographic version.This copy is inscribed to Rafn in 67. Edition number 433/500. DR. CW. 20 # 27. collection Rafn Hafnfjord

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Richard Long
Mud Hand Prints, 1984
13152-BK

13 1/2 x 11 1/4 in. (34.3 x 28.6 cm)

London. Coracle Press. [4 unnumbered leaves + guard-leaf]. Small folio. Leaf with title, leaf with left handprint verso, guard-leaf, leaf with right hand print recto, final leaf with colophon verso. Original publisher's green cloth with title to front board in black.
From the edition limited to 100 copies.

"The artist arrived in the premises of the Coracle Press with a bucket of mud from the River Avon carefully mixed to the desired consistency; having made prints of his hands in each of the 100 books, already bound, he threw the remaining mud down the stairwell walls, where the artists who have worked with the Press have all left evidence of their work. Time alone will tell whether the prints created by artist and river will last as long as the preserved image of hands ... made by Paleolithic (Magdalenian) man to be found in caves from the Périgord to the Pyrenees and Northern Spain." [Ref. From Manet to Hockney: Modern Artists’ Illustrated Books (London: Victoria and Albert Museum, 1983, p. 167].

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Hansjörg Mayer
Konkrete poesie international, 1965
13347-BK

19 x 19 in. (48.3 x 48.3 cm)

Stuttgart, Edition Hansjörg Mayer. Text sheet with foreword by Max Bense and 13 offset-lithographic plates. Sheets loose as issued in original cloth-backed portfolio with flaps. It was at the end of 1964 that Hansjörg Mayer, editor, typographer and artist, began to publish a series of concrete poetry portfolios, each produced in relatively small numbers (from 40 to 200 copies). The second of these portfolios “Konkrete poesie international” was published in 1965, in an edition of only 40 copies (this copy unnumbered). The portfolio reunites works by each of the major concrete poetry protagonists. Each of the 13 participating artists provides a single printed typographic work, each plate is signed on the verso by the artist in pen or pencil, either on the sheet itself, or on a gummed label. The wholly international outlook of the production means that the portfolio includes signed works by Carlo Belloli, Claus Bremer, Ian Hamilton Finlay, Pierre Garnier, Mathias Goeritz, Joselino Grünewald, Eugen Gomringer, Josef Hirsal, Dieter Roth, Vagn Steen, Paul de Vree, Emmett Williams, and Oswald Wiener. [Ref: M. Glasmeier - buchstäblich wörtlich, wörtlich buchstäblich. Katalog Nationalgalerie Berlin, p. 60].

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Tachibana Morikuni
Ompitsu Soga, 1749
2317

10 3/8 x 7 1/8 in. (26.5 x 18 cm)

3 volumes complete. A book dealing with So (cursive or coarse brushwork), and introducing, if not for the first time, then for the first time on such a systematic scale, new methods in preparing woodblocks to convey total effects on ink-painting, not by black outlines or by lines in white reserve, but by roughening the surface of the wood to produce a scumbling, almost mezzotint-like effect, and by lowering certain areas, which then painted more faintly than the remainder of the block with the connivance, of course, of the printer, who was responsible for the degree of pressure applied to the barren used for “burnishing off” the proof. Jack Hillier, “Art of the Japanese Book” (1987), pg. 191.

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Daido Moriyama
Tokyo, 2011
4002-BK

vol.23 Daido Moriyama photographs Tokyo comprises thirty-one original photographs by Daido Moriyama. The photos are arranged in sequence and varying number over a total of twelve double pages, the majority of these photos published here for the first time. Their subject, the capital city of Tokyo, is treated with the photographer’s characteristic tormented lyricism. We encounter the same recurring motifs in his work for communicating his fascination for texture: here a gaping mouth, there the luster of a car body, an illuminated sign, a muddy sidewalk… Daido Moriyama A major figure in contemporary Japanese photography, Daido Moriyama is one of the founders of the selfcalled, avantgarde movement, « Provoke”, that came to life in the 1960s. He is at the core of what emerged as a new visual language, both nervous and frantic, that delighted in the out-of-focus, the grainy and deformity in general. He has had work exhibited in one-man shows worldwide most notably at the Metropolitan Museum (NY), the San Francisco MOMA and at the Cartier Foundation for Contemporary Art in Paris. Description: Solo project (#1) 31 original photographs (gelatin silver prints) glued to paper Japanese binding 21 x 33 x 1,7 cm Limited edition of 18 copies + 5 H.C November 2011 Graphic design: Olivier Andreotti

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Dieter Roth Mundunculum
Stamp Box, 1968
1207

11 x 11 x 2 3/4 in. (28 x 28 x 7 cm)

12 rubber stamps, 2 ink pads black and red ink. Instructions by Karl Gerstner and dieter rot on doublesheet. 28 x 28 x 7 cm in box made by workshop Galerie Der Spiegel, Cologne. Published by Tam Thek editors K. Gerstner and D. Spoerri Dusseldorf. Number 23/111 and signed. (announced 1965 catalogue 'edition mat mat'). DR. CW. 20 # 34.

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Yoko Ono
Grapefruit, 1964
5542-BK

5 1/2 x 5 1/2 in. (14 x 14 cm)

Tokyo. Wunternaum Press.
Small square 8vo. Unpaginated. Original cream wrappers, printed title in
black to front wrapper. First edition of Yoko Ono's written Conceptual
compendium, this copy with a presentation in blue ink to initial blank in
Japanese and English, to Nigel Samuel and his wife Sue: 'Spring o spring
Why don't I fly in the sky tonight' / 'To Nigel & Sue, / Yoko / Spring
1967, / London'.

Nigel Samuel was the brother of Nicky Samuel, known as Nicky Weymouth.
Nicky, who knew Andy Warhol and many of the other great personalities of
the 60s, worked for Yoko when she was married to Tony Cox.

'Grapefruit' contains a series of 'event scores' that were designed to
replace the physical work of art. Often considered a Fluxus artwork, in
fact Grapefruit was originally published by Ono's own imprint, Wunternaum
Press in Tokyo in an edition of 500.

Event scores were developed by a number of artists attending John Cage's
Experimental Music Composition classes at the New School for Social
Research in New York. Whilst Ono did not attend these informal lessons,
her husband at the time, Ichiyanagi Toshi, (an experimental musician)
did, and Toshi and Ono became regulars of Cage's circle of friends by
1959.

After leaving New York in 1962, where she had exhibited at George
Maciunas' AG Gallery, amongst others, Yoko Ono's then-husband Anthony Cox
suggested she collect her scores together. Maciunas, had apparently been
trying to reach her in Tokyo with the aim of printing a similar book in
New York, as part of his series of Fluxkits, but his letters hadn't
reached her; she sent some of the scores and a prepublication
advertisement to be published in his Fluxus newspaper in February 1964
when contact was finally established.

The name 'Grapefruit' was chosen as the title because Ono believed the
fruit to be a hybrid of an orange and a lemon, and thus a reflection of
herself as 'a spiritual hybrid'. It also seems likely that it is a
playful allusion to Brecht's Water Yam.

This first edition contains over 150 'instruction works'; virtually all
are in English, with about a third translated into Japanese. They are
divided into five sections; Music, Painting, Event, Poetry and Object.
The instructions are preceded by dedications to figures including John
Cage, La Monte Young, Nam June Paik, Isamu Noguchi and Peggy Guggenheim,
and also includes documentation relating to Ono's recent exhibitions and
performances.

[Ref. Kellein - Frohliche Wissenschaft. Das Archiv Sohm, p. 88].

Price Upon Request

Matthew Zucker & Pia Östlund
Capturing Nature: 150 Years of Nature Printing, 2023

Matthew Zucker & Pia Östlund
Capturing Nature, 2022, 2022
13217

(33 x 23.2 x 2.8 cm)

$250

Dieter Roth Poetrie Serie
Poeterei 3/4, 1967-68
1330

9 7/8 x 5 5/8 in. (25 x 14.3 cm)

Double issue of the biannual review for poetry and poesy. No 3, 24 pages letterpress with an 'original rhein' (original collage) signed. No 4, 44 pages letterpress closed bolt with an 'original ram' (original object) signed. Adhesive binding. cover goat embryo skin. Printed by G. Hohm Cologne. Published by edition Hansjorg Mayer, Stuttgart.Number 148/230 , dated 68 and signed . 10 ·authors copies. Approx 40 copies bound in goat embryo skin. Rest in different kinds of leather. Published by divers press, Cologne. Book of poetry with one "original rhein" photo collage with poems from Roth's magazine. The poems are about death, decay, impermanence, excrement, and eroticism. The bag thus literally blends eros and thanatos sensual poems with rotting flesh. Through its possible allusions to sacrificial rams and lambs it bears religious undertones reminiscent of the literary musings of Georges Bataille, whose dadaist writings on the erotic and the grotesque appealed. DR. CW. 20 # 35.25 x 14 cm Collection Rudolf Reiser

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Dieter Roth Poetrie Serie
80 Wolken aka 80 Clouds, 1967
4355-BK

5 7/8 x 5 7/8 in. (15 x 15 cm)

41 heavy clouds for Rudolf Rieser (2. edition). 32 heavier clouds for Hansiorg Mayer. 24 pages letterpress, adhesive binding, softback. Printed by Staib + Mayer Stuttgart. No 32 of the review 'rot' published by M. Bense and Elisabeth Walther, Stuttgart. 550 copies. 41 heavy clouds for Rudolf Rieser (2. edition). 32 heavier clouds for Hansiorg Mayer. 24 pages letterpress; Adhesive binding ( closed bolt softback. Printed by staib + mayer Stuttgart. No 32 of the review 'rot' published by m. bense and elisabeth walther stuttgart 1967. 550 copies. 2. edition. Dieter Rot gesammelte werke band 15 (siehe nr 42) dieter rot collected works volume 15 (see no 42). DR. CW. 20 # 31.

Price Upon Request

Dieter Roth Poetrie Serie
Poetrie 1, 1967
3789-BK

10 x 5 5/8 in. (25.4 x 14.3 cm)

no 1 of the biannual review for poetry. 26 pages letterpress on handmade paper. Adhesive binding closed bolt, softback. Cover by R. Rieser Cologne. Printed by G. Hohm Cologne. Published by edition Hansjorg Mayer Stuttgart. 130 numbered and signed copies. Approx 20 authors copies. Approx 80 copies with written and painted. Additions by the author. This is an Extra copy for the edition of 130. DR. CW. 20 # 25. 25,4 x 14,3 cm. Collection Jons Hjalmarsson

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Dieter Roth Poetrie Serie
Poetrie 2, 1967
4013-BK

9 7/8 x 5 1/2 in. (25 x 14 cm)

301 little clouds in memoriam big J and big G. 48 heavy clouds for Rudolf Rieser. 34 pages letterpress. adhesive binding, softback. Part of the edition in dustjacket. Cover design by R. Rieser Cologne. Printed by G. Hohm Cologne. Published by edition Hansjorg Mayer Stuttgart. Numbered 60/130 and signed. 20 authors copies. On the last page an 'original worke' (original drawing) signed. DR. CW. 20 # 30. 25 x 14 cm Collection Rudolf Reiser

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Dieter Roth Postcards
8 Postkarten, 1967
1794

8 1/8 x 4 1/8 in. (20.5 x 10.5 cm)

Reproduced images from DR's Diaries from 1967 which he made into a postcard format in two plastic sleeves(4 in each) each one signed and numbered #69/150 copies.

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Dieter Roth Postcards
siebdruckbild 1, 1967
4227-BK

4 3/8 x 5 1/2 in. (11 x 14 cm)

Edition hans jorg mayer: Stuttgart 1967 (Answer to question by Emmett Williams; four screenprints each cut up to make 12 postcard, loose in envelope). DR. CW. 20 # 28. 16x12cm

Price Upon Request

Dieter Roth Prints
A Bunch of Flowers, 1996-98
3787-OR

16 1/2 x 11 11/16 in. (42 x 29.7 cm)

Paint and colored pen over a color copy
12 unique works on paper
Provenance: Agnar Gústafsson

12 unique works on paper, paint and color pen, some on photocopy paper made by Roth.

Price Upon Request

Dieter Roth Prints
Am Blauen Meer, By the blue sea, 1972
3959-PR

silk screen on carton, 90x90cm, edition of 80

Price Upon Request

Dieter Roth Prints
7 Cages(7x1), 1971
4453-PR

23 13/16 x 19 7/8 in. (60.5 x 50.5 cm)

Fancy Cage, Puzzle Cage, Elevated Cage, Mezzo Cage, Small Cage, Triple Cage, and Inhabited Cage. Published by Petersburg Press, London. Dobke 200-206 Edition of only 60 copies.

Price Upon Request

Dieter Roth Prints
HAT RING, 1971
4455-PR

5 7/8 x 3 7/8 x 3 7/8 in. (15 x 10 x 10 cm)

Edition of only 10 copies. Reykjavík / Luzern · 1971 · With gold ring and 5 interchangeable hats: iron, copper, brass, silver and gold, in brass box · 5 x 10 x 15 cm · edition# 6 of 10 · made by Langenbacher & Wankmiller, Luzern. Signed on the ring by the artist.

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Dieter Roth Prints
Löwenkäfig, Lion Cage, 1971
4181-PR

23 13/16 x 19 7/8 in. (60.5 x 50.5 cm)

4 etchings in portfolio with signed lithograph cover. Edition of only 10 copies. This series has an image of The Lion of Lucerne by Berthel Thorvaldsenon in two of the plates reproduced with photo-engraving .Edition 3 of 10, signed and dated.

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Dieter Roth Prints
Berner Oberland, 1970
4172-PR

40 1/8 x 28 3/4 in. (102 x 73 cm)

Siebdruck 10-25 Farben auf weissem Karton 1 positive und 1 negative Druckform bearbeitet. Verlag Toni Gerber, Bern, Provenance- Ronald Feldman Fine Arts, Inc

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Dieter Roth Prints
Berner Oberland, 1970
4393-PR

40 1/8 x 28 3/4 in. (102 x 73 cm)

Siebdruck 10-25 Farben auf weissem Karton 1 positive und 1 negative Druckform bearbeitet. Verlag Toni Gerber, Bern, Provenance- Ronald Feldman Fine Arts, Inc

Price Upon Request

Dieter Roth Prints
Berner Oberland, 1970
4405-PR

40 1/8 x 28 3/4 in. (102 x 73 cm)

Siebdruck 10-25 Farben auf weissem Karton 1 positive und 1 negative Druckform bearbeitet. Verlag Toni Gerber, Bern, Provenance- Ronald Feldman Fine Arts, Inc

Price Upon Request

Dieter Roth Prints
Color Poloroid for deluxe edition volume 15, 1970
4352-PH

Color poloroid mounted on rubber, painted blue. signed and dated by artist 23x18inches

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Dieter Roth Prints
Emme, 1970
3782-PR

40 1/8 x 28 3/8 in. (102 x 72 cm)

Siebdruck 5-25 Farben auf weissem Karton eine positive und eine negative Druckform fotomechanische Reproduction einer Fotografie von Hartwig Roth. Verlag- Galerie Toni Gerber, Bern

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Dieter Roth Prints
Emme, 1970
4173-PR

28 3/4 x 40 1/8 in. (73 x 102 cm)

Siebdruck 5-25 Farben auf weissem Karton eine positive und eine negative Druckform fotomechanische Reproduction einer Fotografie von Hartwig Roth. Verlag- Galerie Toni Gerber, Bern. Provinance- Dr. Luise Krohn

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Dieter Roth Prints
Emme, 1970
4391-PR

40 1/8 x 28 3/4 in. (102 x 73 cm)

Siebdruck 5-25 Farben auf weissem Karton eine positive und eine negative Druckform fotomechanische Reproduction einer Fotografie von Hartwig Roth. Verlag- Galerie Toni Gerber, Bern

Price Upon Request

Dieter Roth Prints
Emme, 1970
4404-PR

Siebdruck 5-25 Farben auf weissem Karton eine positive und eine negative Druckform fotomechanische Reproduction einer Fotografie von Hartwig Roth. Verlag- Galerie Toni Gerber, Bern

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Dieter Roth Prints
German Cities - unique set, 1970
4194-PR

5 unique prints from proofs before the edition was made which the artist hand cut and signed each piece as a gift to the printer.

Price Upon Request

Dieter Roth Prints
Koln Cologne, 1970
4102-PR

39 3/8 x 27 1/2 in. (100 x 70 cm)

inscribed to Rudolf Rieser

Price Upon Request

Dieter Roth Prints
Piccadilly proof print, 1970
4712-OR

19 5/8 x 27 1/2 in. (50 x 70 cm)

Purchased from Hanns Sohms widow

Price Upon Request

Dieter Roth Prints
Piccadilly proof print, 1969
4722-OR

19 5/8 x 27 1/2 in. (50 x 70 cm)

Purchased from Hanns Sohms widow

Price Upon Request

Dieter Roth Prints
Eiertanz- Dancing Eggs, 1965
3330-OR

16 3/4 x 14 in. (42.7 x 35.5 cm)

Stamp drawing on transparent paper. 42,7 x 35,5 cm. Pictured in Munduculum. Monogrammed and dated : D.R. 65. This drawing served for the illustration in : Dieter Roth, Collected works, vol. 16, p. 167.

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Dieter Roth Prints
F.C.M.F.U.W.M., 1965
3929-OR

4 7/8 x 4 3/4 in. (12.5 x 12 cm)

For Clarice and Malcolm For Use of Washing Machine. Collage of cut paper with mold from chocolate syrup. Signed D.R. 65

Price Upon Request

Dieter Roth Prints
Federfranse, sich aufloesend, 1965
3411-PR

This unique stamp drawing was made for the 1967 publication, Mundunculum, as seen on the double page 126-127.

Price Upon Request

Dieter Roth Prints
Untitled, Icelandic Landscape, 1963
4416-OR

3 1/4 x 5 3/8 in. (8.2 x 13.7 cm)

Offset printed postcard, tape. Diametric Icelandic landscape.
Unique. Signed. Reference:# 5 -collected landscapes. Note: Original postcards send to Andre' Balthazar.

Price Upon Request

Dieter Roth Prints
Untitled, Icelandic Landscape, 1963
4415-OR

3 1/4 x 5 3/8 in. (8.2 x 13.7 cm)

Offset printed postcard, tape. Diametric Icelandic landscape.
Unique.. Reference:# 5 -collected landscapes. Note: Original postcards send to Andre' Balthazar.

Price Upon Request

Dieter Roth Prints
BEWOGEN BEWEGING, 1961
4362-PR

39 3/8 x 27 1/2 in. (100 x 70 cm)

Poster designed for the famous moving movement exhibition in Amsterdam. The poster has a black background with silkscreened white and die cut circles. The bottom of the composition is set in sans-serif typeface. Imagine copies of this black-and-white poster pasted on walls previously containing advertising, or paint, or brick. These circular “windows” revealed glimpses of life underneath. The poster intended to be viewed differently depending on its environment.

Price Upon Request

Dieter Roth Prints
Brown and White Vase, 1960
3843-OR

8 1/4 in. (21 cm)

middle of page 41 in Roth Books and Multiples. 21 cm high

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Dieter Roth Prints
Design for June 17th, 1960
3856-PR

Icelandic National Day is an annual holiday in Iceland which commemorates the foundation of The Republic of Iceland on 17 June 1944 and its independence. Dieter designed this piece with Rafn Hafnfjord.

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Dieter Roth Prints
Litbra Logo design, 1960
4468-OR

Roth designed logo with two films of positive and negitive circles. Referenced in vol 18 page 11

Price Upon Request

Dieter Roth Prints
Manuscript by Dieter to Andre, 1960
4141-OR

Letter describing the books which with 2 unique stamp drawings by dieter

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Dieter Roth Prints
Menu made for Holt restaurant, Iceland, 1959
4435-OR

15 3/8 x 3 1/8 in. (39 x 8 cm)

oblong menu with die cut holes and morey pattern on back, designed and made by Roth using two films, one with dots and the other with holes.

Price Upon Request

Dieter Roth Prints
Drawing of Interior of Pharmacy, 1958
4021-OR

18 7/8 x 12 3/4 in. (48 x 32.5 cm)

From the collection of Gudmundur Kristjansson

Price Upon Request

Dieter Roth Prints
eftir, 1958
4470-PR

Poem by Einar Braga

Price Upon Request

Dieter Roth Prints
I hokli ur snjo, 1958
4469-PR

Poem by Einar Braga

Price Upon Request

Dieter Roth Prints
Original binding paper made by this artsit
4682-PR

Price Upon Request

Lukas Pusch
Afrika, 2008
4459-BK

17 3/4 x 14 x 2 in. (45 x 35.5 x 5 cm)

This book documents the artists time in one of the biggest slums in Kenya, Africa with dozens of collages and drawings. The book also includes the radical l art for l art text „Schlagt die Frauen und prügelt die Kinder - Beat the women and flog the children" (Each deluxe edition is in a zebra cloth covered box with a unique drawing. Edition of 100 copies with 10 deluxe copies and 5 APs, this copy is 1 of the 5 AP. Signed, numebered and in a special box

Price Upon Request

Collaboration Roth
Interfaces, 1988
3400-BK

7 1/8 x 4 3/8 in. (18 x 11 cm)

This artist book is a butterfly bound book with images of pieces by Richard Hamilton and Dieter made for the exhibition in Cadaques Spain. This is one of 500 copies with inscription dated 1995 plus a drawing of the book on the box. NOT IN ROTH.

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Collaboration Roth
Double Portrait tripdic, 1977
4044-BK

9 x 6 3/4 in. (23 x 17 cm)

Roth, Dieter and Hamilton, Richard. Drypoint, Aquatint, Drypoint and Aquatint within the DELUXE EDITION Collaborations of CH. Rotham. 128 pages, offset and letterpress. 72 color plates. 23 X 17 cm, stitched, softback. Printed by Staib + Mayer, Stuttgart. Published by edition Hansjorg Mayer, Stuttgart, London, and Galeria Cadaques (Gerona). 2000 copies of which 30 in leather and slipcase, with 3 etchings by the authors, numbered and signed. This is the copy n 30 of 30 . DR. CW. 40 # 95.

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Collaboration Roth
The Rotham Certificates with Richard Hamilton, 1977
4343-BK

5 7/8 x 4 1/8 in. (15 x 10.5 cm)

37 postcards and introduction in folded cover, offset, multicoloured. 14.8 x 10.5 cm, in cover, printed by Staib + Mayer, Stuttgart. Published by edition hansjorg mayer, Stuttgart, und Galeria Cadaque (Gerona). Edition of 1000 . DR. CW. 40 # 96.

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Collaboration Roth
Ratiobriefe with Arnulf Rainer, 1976
4344-BK

11 3/4 x 8 1/4 in. (29.7 x 21 cm)

Radio Letters 1,2,3 complete all issues stapled and in cloth portfolio in an edition of 200 copies.Ratioletter 1, 3 sheets. Ratioletter 2, 5 sheets. Ratioletter 3, 23 sheets. Small offset, stapled. Published by edition hansjorg mayer, stuttgart, Iondon, reykjavfk, edition of 200 each . DR. CW. 40 # 94.

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Collaboration Roth
Zeitschrift fur alles Review for Everything, 1975-78
1175

10 volumes in all with covers designed by Uwe Lohrer, between 32 and 1252 pages offset, softback, staples or adhesive bound. Nos. 1-3, edition Hansjorg mayer 1975-78, then Dieter Roth's Verlag(Nos. 8-10 edited by Barbara Wein, Berlin) NOt in DR. CW. 23x17cm

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Collaboration Roth
Neo Nix und NEO MIX, 1975
3429-BK

9 x 9 7/8 in. (23 x 25 cm)

Dieter Roth and Rainer. 240 pages, offset, multicolored, stitched, softback. Printed by Staib + Mayer, Stuttgart. Published by edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 400 copies, numbered and signed by both authors. This is the copy n 40 of 100 . DR. CW. 40 # 92.

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Collaboration Roth
Interfunktionen 4, 1970
1114

11 5/8 x 8 5/8 in. (29.5 x 22 cm)

183 pages of witch 8 by Rot. Periodical, Pictorial wrapper. Offset printed. Glue bound. Black and white. Edition of 1100. Published by F.W. Heubach, Cologne.Offset and collage element. 29.5 x 22 cm (11 5/8 x 8 11/16 in.)Cologne. Artists and contributors included: Panamarenko, Dennis Oppenheim, Keith Arnatt, Joseph Beuys, Daniel Buren, Diter Rot [Dieter Roth], Claus Böhmler, Günter Brus, Gilbert & George, Dieter Meier, Jan Dibbets, F. W. Heubach, Daniel Buren, Peter Weibel, Paul Sharits, W & B Hein, Valie Export, Carl Andre. Twelve issues over seven years( 1968-1975) may not appear to be a particularly impressive output, but it is difficult to overemphasise the influence and significance of Interfunktionen during and after its brief existence. Dissenting from the new 'art-as-commodity' attitude expressed at Arnold Bode’s documenta 4, Interfunktionen magazine, edited by Fritz Heubach in Cologne, was an interdisciplinary effort among activist artists to promote European art and ideas without bowing to the era’s increasingly commercial trends. In the summer of 1968 the opening of Documenta 4 had come under public attack for a conventional, market-driven agenda that was felt to represent inadequately the art of the '60s. With the exception of some "environments" neither space nor money was available for new media: an event involving performance and sound art, long planned by Wolf Vostell, was cancelled. American Pop and Minimalist artists, hot tickets on the German art market, far outnumbered artists from any single European country, provoking critics to nickname the show "Americana" and to refer to New York City as a "suburb of Kassel." Inextricably linked with the Joseph Beuys-era Kunstakademie Düsseldorf and the LIDL Akademie, Interfunktionen boasted contributions and support from Jörg Immendorff, Sigmar Polke and Wolf Vostell. It published theory, criticism and artists’ projects, and facilitated a brand of European-American relations in art that had not quite existed or been explored before. Interfunktionen’s first issue was originally published in – by today’s standards – an impossibly small edition of 120 (later issues averaged a circulation of about a thousand, although issue 2 was produced in an edition of only 250, with issue 3 in an edition of 300). Sets of the magazine with the original edition of issue no.1 are exceedingly rare. This first number's main function was to articulate a reaction to documenta 4: the record of a performance action staged by a loose group of Interfunktionen members and supporters at the press conference and the reproduction of pieces banned at the exhibition. The first issue is a collection of some seventy-five pages, made of assorted papers printed, typed, or handwritten, including loose enclosures, foldouts, and collages of news clippings with scrawled citations. In his introduction, Heubach warns that the restrictive policies of art institutions like Documenta impede the free, experimental production of art. Detailed records describing the canceled multimedia event and a general collection of news coverage follow. Midway through the issue things heat up. "Honey-Blind Action" documents performances staged by artists during the opening press conference of Documenta: Jorg Immendorff jumped across tables, waved a stick topped with the silhouette of a cute polar bear painted light blue, and smeared honey over the microphones, while his wife, Chris Reinecke, "hugged and kissed everyone," including the alarmed curator Bode. Vostell poured a bag of change in front of the curators as a symbolic donation, and Heubach, among others, raised a banner reading, "Prof. Bode, we, the blind, thank you for this pretty show." Newspaper articles are interspersed with an absurd correspondence between Reinecke and the city of Kassel, which officially fined her 27.35DM for the removal of honey stains from tables and carpets. Matching the city's bureaucratese, her formal reply declined responsibility and requested that the bill be sent to her husband instead at the same address. The "

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Collaboration Roth
Freund + Friends + Freunde + Freunde, 1969
3473-BK

9 x 6 3/4 x 78 in. (23 x 17 x 2.3 cm)

Roth, Dieter, Karl Gerstner, Daniel Spoerri, Andre Thomkins und Freunde. Artist's book published in conjunction with exhibition held at Kunsthalle Bern, Bern, Switzerland, May 1969. Traveled to Kunsthalle Düsseldorf, Düsseldorf, Germany, July 1969. Contributions from Karl Gerstner, Dieter Rot [Dieter Roth], Daniel Spoerri, Andre Thomkins, and "friends." Composed of drawings and reproduced texts. Texts in German. Reference : No. 391 in "Die Bücher der Künstler : Publikationen und Editionen seit den sechziger Jahren in Deutschland" by Michael Glasmeier. London / Frankfurt, United Kingdom / German : Institut für Auslandsbeziehungen, 1994, pp. 164.

Price Upon Request

Collaboration Roth
Interfunktionen 3, 1968
1125

11 5/8 x 8 5/8 in. (29.5 x 22 cm)

146 pp., Periodical, Pictorial wrapper. Offset printed. Glue bound. Black and white. Edition of 500. edited by Friedrich Wolfram Heubach.Published by F.W. Heubach, Cologne. Artists and contributors included : Joseph Beuys, Walter de Maria, Dennis Oppenheim, Mike Heizer, Richard Long, Jan Dibbets, Robert Smithson, Friedrich Wolfram Heubach, Lutz Schirmer, Hagen Lieberknecht, Wolf Vostell, Diter Rot [Dieter Roth], Johannes Stüttgen, Matthias Schäffer, Gabor Altorjay, Günter Brus, James Lee Byars, LIDL, Jörg Immendorff. With an original unique piece from each artist, including a slice of bread from Vostel and an orginal drawing by Roth.

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Collaboration Roth
Noch mehr Scheisse, 1968
3434-BK

8 7/8 x 5 7/8 in. (22.5 x 15 cm)

Roth and Emmett Williams. dieter rot still more shit a supplement, Emmet Williams footnotes to sweethearts. 100 pages letterpress. stitched softback dustjacket. Printed by Prentsmioja Jons Helgasonar reykjavik. Published by edition Hansjorg Mayer Stuttgart. 500 numbered and rubber stamp signed copies.Photomechanischer Nachdruck, (Ranier Edition) nd. Offset printed book, paper, revised edition. This is teh copy number 76 of 500, Signed and dedicated to Jons Helgasonar in 1968. DR. CW. 20 # 36.

Price Upon Request

Collaboration Roth
Edition et, Complete set vols 1-4 and 13-15 all published, 1966-67
1111

9 x 9 in. (23 x 23 cm)

Polke, Richter, Roth and many others. 7 volumes in all. Square portfolios with many original graphics from artists of the period. The first 4 volumes,1-4, have 20 or more artists per volume and the last 3 , 13-15, are one artist only. Rot made graphics Nummern-Malwerk on pink paper for Volume 3, Bildmaterial fur et Nr.2 for Volume 2, and for volume 15 made an artist book titled SNOW with 96 reproductions of photographs and hand written translations by the author from 'snow'(unique book now in MOMA collection) Introduction by Daniel Spoerri. DR. CW. 20 # 33. 23x23cm

Price Upon Request

Dieter Roth
book t1, 1959 facsimile, 2022
13243-BK

8 5/8 x 8 5/8 in. (22 x 22 cm)

Roth’s serial project Book (1958-64) is comprised of over 30 interactive works that exemplify the precision of concrete aesthetics. Book t1 is one of the first created for this series, constructed of twenty-five sheets with hand-cut slots cut at angles. Each loose sheet is 19x19 cm. Fifteen of these are thick, transparent Mylar in red, blue, and yellow, and ten are heavy white stock. The original work is housed in a custom black case with author and title typed on the spine in black and red. The title page includes the artist’s signature, fingerprint, and date (October, 1959). This facsimile edition holds true to the original—hand-crafted in an edition of only 30 housed in a slipcase. Book t1’s greatest intrigue is a singular experience created through the actions it invites: opening, touching, looking, flipping, layering, rotating, manipulating, arranging. Countless playful compositions are created by handling the work. Materiality and empty space serve as the content, and the reader creates dynamic activity between these. Elements confined to one page synthesize with individual elements, not only on the next page, but with several subsequent pages simultaneously. The resultant effect of handing Book t1 underscores the conceptual notion that reading should not be a passive act, but rather a creative one.

Price Upon Request

Dieter Roth
book t1, 1959 facsimile AP TBD, 2022
13480-BK

8 5/8 x 8 5/8 in. (22 x 22 cm)

Roth’s serial project Book (1958-64) is comprised of over 30 interactive works that exemplify the precision of concrete aesthetics. Book t1 is one of the first created for this series, constructed of twenty-five sheets with hand-cut slots cut at angles. Each loose sheet is 19x19 cm. Fifteen of these are thick, transparent Mylar in red, blue, and yellow, and ten are heavy white stock. The original work is housed in a custom black case with author and title typed on the spine in black and red. The title page includes the artist’s signature, fingerprint, and date (October, 1959). This facsimile edition holds true to the original—hand-crafted in an edition of only 30 copies, and housed in a slipcase.

Book t1’s greatest intrigue is a singular experience created through the actions it invites: opening, touching, looking, flipping, layering, rotating, manipulating, arranging. Countless playful compositions are created by handling the work. Materiality and empty space serve as the content, and the reader creates dynamic activity between these. Elements confined to one page synthesize with individual elements, not only on the next page, but with several subsequent pages simultaneously. The resultant effect of handing Book t1 underscores the conceptual notion that reading should not be a passive act, but rather a creative one.

Price Upon Request

Dieter Roth
Collected Works, Volume 35: 4 Novellas, 1991
1016

8 5/8 x 5 7/8 in. (22 x 15 cm)

4 volumes in plastic sleeve with plastic clips and 2 printed colophon labels affixed: BASTELNOVELLE 1- THE ORIGINAL BY MAX PLUNDERBAUM, 2nd edition, BASTELNOVELLE 2- THE ORIGINAL (PART 2) BY FAX HUNDETRAUM, 1st edition, BASTELNOVELLE 3- DAS FATAL-ORIGINAL VON WIX STUDENSCHAUM...MIT VIELEN SONNETTEN UND GEDICHTEN..., 1st edition, EIN LEBENSLAUF VON 5C JAHREN, 2nd edition (reprinted for BAND 35, 300 copies). The ORIGINAL (part 1) by Max Plunderbaum (Junktree). 48 pages, letterpress. stapled. Cover: 4colour original offsetprint by the author. Printed by Staib + Mayer, Stuttgart. Published by edition hansjorg mayer, stuttgart. London, reykjavlk, 1974. 200 numbered and signed copies.Bastel - Nouvelle Nr. 2 Das Riginal = Das Original, 2. Teil oder kann der Vorga. als der Nachfo. auftrehn?Stuttgart: Edition Hansjorg Mayer, 1975. First edition 8vo. 40 pp plus folded glossy insert. edition of one 1000 copies. [Dobke, Dieter Roth Books + Multiples, Catalogue Raisonne, pp. 217]. Bastel-Novelle, No. 3. DAS FATAL-ORIGINAL (Fatal Original) by Jerk Foames. Poems by Ratz Hundefutter (Rats Dogfood). 48 pages, letterpress. Stapled. cover: 4colour original offsetprint. Initiated by the author. Printed by Staib + Mayer, Stuttgart. Published by edition hansjorg mayer, stuttgart. Iondon, 1978. 1000 copies

Price Upon Request

Dieter Roth
Large Carpet (Bertorelli), Collection of flat waste, 1986
4350-BK

11 3/4 x 8 1/4 in. (29.7 x 21 cm)

Contain all used or discarded material relating to the production of the Large Carpet, 3 volumes : Volume 1: approx. 250 sheet , colour photocopy with plastic dustjacket, (no lettering on th cover). Volume 2: approx. 120 sheet , colour photocopy with plastic dustjacket. Volume 3: approx. 250 sheet , colour photocopy with plastic dustjacket. Each 29.7 x 21 cm, adhesive binding · editor: Galerie Marlene Frei, for exhibition Zurich 1986 · Dieter Roth's Verlag, Basel 1986. Editions: 1. edition: black and white copy, unlimited, numbered; 2. edition: 120 colour photocopies, numbered and signed, 3 volume each.

Price Upon Request

Dieter Roth
Bastel-Novelle, No. 3. DAS FATAL-ORIGINAL (Fatal Original) by Jerk Foames, 1978
4324-BK

8 5/8 x 5 7/8 in. (22 x 15 cm)

poems by Ratz Hundefutter (Rats Dogfood), 48 pages, letterpress, stapled, cover: 4 color original offset print,, initiated by the author, printed by Staib + Mayer, Stuttgart, published by edition Hansjorg Mayer, Stuttgart, London, 1000 copies . DR. CW. 40 # 89.

Price Upon Request

Dieter Roth
Collected Works, Volume 36: 96 Piccadillies., 1977
949

9 x 6 3/4 in. (23 x 17 cm)

Postcards of works 1968- 77. 128 pages, offset, 96 colour plates. 23 X 17 cm, adhesive binding. Printed by Staib + Mayer, Stuttgart. Published by edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 3000 copies. 1000 softbacks of which 200 copies in original Doublepiccadilly Painting by the Author, numbered and signed. 1000 hardbacks in slipcase, with original drawing by the author and an introduction by Dieter Schwarz for Eaton House Publishers Ltd. 1000 postcard sets, each 120 loose cards. 10.5 X 14,8 cm. with wrapper. This is the copy n. 22 of 200 . DR. CW. 40 # 87.

Price Upon Request

Dieter Roth
Collected Works, Volume 17: 246 Little Clouds. Deluxe Edition, 1976
1061

9 x 6 3/4 in. (23 x 17 cm)

With an introduction by Emmett Williams. Reconstruction of the book published by something else press New York 1968. 180 pages, offset, stitched, softback, dustjacket. Printed by Staib + Mayer, Stuttgart. Published by edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 1000 copies of which 100 copies wrapped in unique blueprint, made from a film, successively changed by the author, numbered 17 of 100, dated '76 and signed . DR. CW. 40 # 86.

Price Upon Request

Dieter Roth
Bastel-Novelle, No 2. The ORIGINAL (part 2) by Fax Hundetraum (Fax Dogdream), 1975
4323-BK

8 5/8 x 5 7/8 in. (22 x 15 cm)

The ORIGINAL (part 2) by Fax Hundetraum (Fax Dogdream). 44 pages, letterpress and offset, stapled. Cover and supplement: 4colour original offset print by the author. Printed by Staib + Mayer, Stuttgart. Published by edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 1000 copies . DR. CW. 40 # 83. 22 X 15 cm

Price Upon Request

Dieter Roth
Collected Works, Volume 16: MUNDUCULUM. Deluxe Edition, 1975
948

9 x 6 3/4 in. (23 x 17 cm)

Slightly corrected and enlarged version of the book. Published by Dumont Schauberg, Cologne 1967. 336 pages, offset, stitched, softback, wrapper. Printed by Staib + Mayer, Stuttgart. Published by edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 1000 copies of which 100 copies wrapped in original Stampdrawing by the author, numbered 27/100, dated 75 and signed . DR. CW. 40 # 78. 23 X 17 cm.

Price Upon Request

Dieter Roth
Collected Works, Volume 9. Stupidograms. Deluxe edition, 1975
3988-BK

9 x 6 3/4 in. (23 x 17 cm)

Printed samples of the handdrawn original series 1961 to 1966. 416 pages, letterpress and offset, multicoloured, stitched, softback. Printed by Staib + Mayer, Stuttgart. Published by edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 1000 copies of which 100 copies wrapped in original drawing by the author, numbered and signed. This is number 22/100 . DR. CW. 40 # 77.

Price Upon Request

Dieter Roth
Steep Potplant, 1975
13594-PR

29 7/8 x 22 in. (76 x 56 cm)

aquatint and drypoint from 2 copper plates - dobke 323

Price Upon Request

Dieter Roth
Collected Works, Volume 12: Copley Book. Deluxe Edition, 1974-75
2340

9 x 6 3/4 in. (23 x 17 cm)

Enlarged version of the book published by Copley Foundation, Chicago 1965. 40 sheets of different sizes, mostly printed on both sides, folded or collaged, offset and letterpress in cardboard box. Enlarged version of the book published by Copley Foundation, Chicago 1965. Wrapped original photograph by the author, signed and numbered 1/1.

Price Upon Request

Dieter Roth
Bastel-novelle, No 1. The ORIGINAL (part 1) by Max Plunderbaum (Junktree), 1974
4317-BK

8 5/8 x 5 7/8 in. (22 x 15 cm)

48 pages, letterpress. 22 X 15 cm, stapled. cover: 4colour original offsetprint by the author. Printed by Staib + Mayer, Stuttgart. Published by edition Hansjorg Mayer, Stuttgart. London, Reykjavik. 200 numbered and signed copies. This is the copy n 66 of 200, dedicated and dated 74 . DR. CW. 40 # 76.

Price Upon Request

Dieter Roth
Bucher, 1974
1829

8 1/8 x 8 1/8 in. (20.5 x 20.5 cm)

156 pages, offset. adhesive binding, softback. Printed by Staib + Mayer, Stuttgart. Published by Kestner Gesellschaft, Hanover. 3000 copies.

Price Upon Request

Dieter Roth
Collected Works, Volume 7: Bok 3b und Bok 3d. Deluxe Edition, 1974
3376-BK

9 x 6 3/4 in. (23 x 17 cm)

Reconstruction of the book 3b and 3d. Approx. 530 pages of original comics and childrens coloring books with die-cut holes. Wrapped in original multicolored screenprint by the author, signed, dated '74 and numbered 54/100 . DR. CW. 40 # 72.

Price Upon Request

Dieter Roth
Murmel, 1974
3790-BK

7 1/8 x 4 3/4 in. (18 x 12 cm)

176 pages, letterpress. stitched, softback. Printed by Rikisprentsmidja Gutenberg, Reykjavik. 232 signed copies. Dedicated and dated 8.3.74 . DR. CW. 40 # 69.

Price Upon Request

Dieter Roth
Self Portrait as Inhabitants of the Air, 1973
09743-PR

21 x 32 1/4 in. (53.5 x 82 cm)

Planographic printing. 7 colors (3 printings) on white cards. Edition of 30 copies, signed, titled and numbered 30/30.
Published by Dieter Roth Pictures,Zug
Literature Dobke 291

Price Upon Request

Dieter Roth
Collected Works, Volume 20: Books and Graphics, 1972-74
3407-BK

9 x 6 3/4 in. (23 x 17 cm)

From 1947 until 1971. 384 pages, offset;. Stitched, softback. Printed by Staib + Mayer, Stuttgart. Published by edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 8000 copies of which 100 copies in 9 dust jackets each signed by the author. DR. CW. 40 # 57.

Price Upon Request

Dieter Roth
Collected Works, Volume 18: Small Works Part 1. Deluxe Edition, 1971
3482-BK

9 x 6 3/4 in. (23 x 17 cm)

Published and unpublished material 1953-1966. 272 pages offset. 23 x 17 cm stitched softback. Printed by Staib + Mayer, Stuttgart. Published by edition Hansjorg Mayer Stuttgart, London, Reykjavik. 1200 copies. This is the copy number 12 Signed and dated '79. DR. CW. 20 # 52.

Price Upon Request

Dieter Roth
Collected Works, Volume 19: Smaller Works Part 2. Deluxe Edition, 1971
2037

9 x 6 3/4 in. (23 x 17 cm)

Published and unpublished material 1967-1971. 304 pages offset. Printed by Staib + Mayer, Stuttgart. With screen printed foam rubber die-cut wrap around with red hand painting and original 8mm film reel by Dieter Roth. Signed and numbered.

Price Upon Request

Dieter Roth
Collected Works, Volume 5: Bok 3 a Deluxe Edition, 1971
942

9 x 6 3/4 in. (23 x 17 cm)

Reconstruction of the book as published by forlag ed 1961. Approx 250 sheets cut out of Icelandic newspapers. 23 x 17 cm adhesive binding softback. Printed by various printers in Reykjavik and Akureyri. Published by Seimannsverlag former edition Hansjorg Mayer ReykjavIk, Stuttgart, Cologne, London 1970. 1000 copies of which 100 copies in multiple designed by the author (4 variations) black imitation leather embossed. this is the copy number 19/50. DR. CW. 20 # 11.

Price Upon Request

Dieter Roth
Collected Works, Volume 6: Bok 3 c. Deluxe Edition, 1971
943

9 x 6 3/4 in. (23 x 17 cm)

Reconstruction of the book published by forlag ed in1961. Approx 300 sheets cut out of offset run-up sheets. Adhesive binding softback. Printed by various printers in Reykjavik. Published by edition Hansjorg Mayer Reykjavik, Dusseldorf, London. 1000 copies. This copy is numeber 92 of 100, dated 73. DR. CW. 20 # 13.

Price Upon Request

Dieter Roth
Duet, 1971
13345-PR

25 1/8 x 27 7/8 in. (64 x 71 cm)

Intaglio printing (etching and drypoint), black on white handmade paper, sections photomechanical reproduction of a drawing
edition of 30. This is #26 of 30

Price Upon Request

Dieter Roth
Ein Gedanke A Thought, 1971
13549-PR

11 1/2 x 9 5/8 in. (29.5 x 24.5 cm)

Dark green on handmade paper, etching and drypoint- edition of 20

Price Upon Request

Dieter Roth
Miniaturbucher, 1971
3815-BK

1 3/8 x 1 1/8 x 34 in. (3.5 x 3 x 2 cm)

This is one of a group of books made by the artist for an exhibition at Rywelski Galerie in Koln in 1971. Newspaper and cheese cloth, 3.5x3x2 cm. Helmut Rywelski and Roth had a big falling out in 1972, see page 143 in Roth Time. a retrospective, published by MOMA.;Provenance: Helmut Rywelski

Price Upon Request

Dieter Roth
6 Piccadillies in original publisher's box, 1970
13094-PR

19 5/8 x 27 1/2 in. (50 x 70 cm)

London and New York, Petersburg Press. Series of six double-sided screenprints in colours on woodpulp board, laminated on both sides with white chromolux card. Made in an edition of 150, this is no. 48/150. Signed, dated and numbered on all prints. Very good condition.

Price Upon Request

Dieter Roth
Collected Works, Volume 10. Daily Mirror (Special Edition). Deluxe edition, 1970
4063-BK

9 x 6 3/4 in. (23 x 17 cm)

Variant of 'quadrat print' published by de Jong Hilversum, 1965. 472 pages.. Offset. Stitched softback. Printed by Staib + Mayer Stuttgart. Published by edition Hansjorg Mayer, Cologne, London, Reykjavfk, 1970. 1000 copies of which 100 copies in multiple designed by the author painted corrugated cardboard. Numbered with 2 signed miniature books. 2 x 2 x 2 cm cut out of 'daily mirror' newspapers.This is the edition number 52 of 100. DR. CW. 20 # 43.

Price Upon Request

Dieter Roth
Collected Works, Volume 11, Snow. Deluxe Edition, 1970
4068-BK

9 x 6 3/4 in. (23 x 17 cm)

With an introduction by the author. Photographic version of the original from1964. 256 pages offset. stitched softback. Cover design by J. Filzen New Haven. Printed by Staib + Mayer Stuttgart. Published by Waterpress former edition Hansjorg Mayer Stuttgart, London, Reykjavfk, 1970. 1000 copies of which 100 copies in multiple designed by the author, covered corrugated cardboard numbered with 2 crushed lightbulbs signed. This is the copy number 16/100. DR. CW. 20 # 44.

Price Upon Request

Dieter Roth
German Cities (Deutsche Stadte), 1970
11553-PR

24 x 33 3/4 in. (60.9 x 86 cm)

Series of 5 prints, screen printing, 1 color [on planographic printing (offset), black on white card, photomechanical reproduction of 25 postcards]. Offset printed by Staib + Mayer, Stuttgart. Screenprinted by Larl Löw, Stuttgart.

Price Upon Request

Dieter Roth
Collected Works, Volume 15. Poetrie 5 bis 1 (Special Edition). Deluxe edition, 1969
4062-BK

9 x 6 3/4 in. (23 x 17 cm)

Review for positioning, pometry, poeting and poetry. 220 pages offset. Stitched softback. Printed by Staib + Mayer, Stuttgart. Published by edition Hansjorg Mayer, Cologne, London, Reykjavik. 1000 copies of which 100 copies in multiple designed by the author. Painted rubber mat, numbered with 2 signed polaroid color photographs reproduction of 'poesy no 1'. '32 heavier clouds for hansjorg mayer', 'poesy no 2', 'poeting 3/4', 'poesitioning no 5' (first edition). DR. CW. 20 # 42.

Price Upon Request

Dieter Roth
Die Kakausener Gemeine, 1968
4113-BK

18 1/2 x 13 in. (47 x 33 cm)

Sunday supplement of the newspaper for kakausen and surroundings part 1. Serialized novel in form of a newspaper. 12 pages offset. Stapled. Printed by Staib + Mayer Stuttgart. Published by edition Hansiorg Mayer Stuttgart. 1000 copies. DR. CW. 20 # 37.

Price Upon Request

Dieter Roth
16 4 66 (Sechzehn-Vier-Sechsundsechzig)., 1966
13439-BK

18 5/8 x 13 3/8 x 2 in. (47.5 x 34 x 5 cm)

Stuttgart: Edition Hansjörg Mayer / Edition Domberger. Original red boards, printed in black, blue linen slipcase. Edition of 150 regular copies plus 40 deluxe copies, this being #19 of 40 deluxe issue with all prints signed. Artist’s book portfolio composed of 16 loose sheets, folded in the manner of book, with double pages printed on both sides with artist’s original graphic contributions and three sheets of text (title page, biographies, forewords by Siegfried Maser and Dieter Honisch). This artist’s portfolio was created partly using the letterpress method (by Hansjörg Mayer), and partly using the screen-printing method (Domberger). The sheets with the artist’s contributions are each numbered and signed on one side. Published in an edition 150 copies. The signed works are by: Max Bense, Klaus Burkhardt, Siegfrid Cremer, Reinhard Döhl, Hein Gravenhorst, Helmut Heissenbüttel, Rudolf Hoflehner, Herbert W. Kapitzki, Erhard Karkoschka, Günther C. Kirchberger, Hansjörg Mayer, Frieder Nake (computer art), Günther Neusel, Yüksel Pazarkaya, Dieter Roth, and K.H.R. Sonderborg.

Price Upon Request

Dieter Roth
FUTURA 1 - 26. For reading out Loud), 1965-66
4359-BK

9 1/2 x 6 3/4 in. (24 x 17 cm)

A complete set of this important journal/broadsheet of 26 issues of concrete poetry published from 1965 - 1968. Mostly a single artist per issue the artists were; Mathias Goeritz, Klaus Burkhardt, Max Bense, Reinhard Dohl, Louis Zukofsky, Bohumila Grogerova, Josef Hirsal, Job Boi, ian Hamilton-Finlay, Claus Bremer, Augusto de Campos, Edward Lucie Smith, Dieter Rot, Emmett Williams, Frieder Nake, Carlo Belloli, Jonathan Williams, Hiro Kamimura, Wolfgang Schmidt, Pierre Garnier, Bob Cobbing, Edwin Morgan, Dick Higgins, Wolf Vostell, Herman de Vries, Peter Schmidt, Andre Thomkins, Robert Filliou. This set is in mint condition, often the folds have become worn but in this case a crisp clean set. See 'Eye on Europe, Prints, Books &Multiples 1960 to now' Deborah Wye, Wendy Weitman, The Museum of Modern Art, New York colour illus p 91. Futura 11. 8 pages, letterpress. Printed by Staib + Mayer, Stuttgart. Edition of 1000.

Price Upon Request

Dieter Roth
Book cc, 1965
1156

15 x 15 in. (38 x 38 cm)

In paper over board black box with Diter Rot Edition MAT collection 64 on spine. Dieter Roth BOOK CC, IDEA 1958, HANDCUT FOR MAT 1965, NR 85/100 with fingerprint in black ink. 18 red and blue hand-cut slots in various degrees (90, 75, and 60 degrees) in various sizes ( .2, .5, 1. 1.5, 3.5 and 6.5cm). DR. CW. 20 # 4. 38x38 cm

Price Upon Request

Dieter Roth
Quadrat Print, 1965
1188

9 7/8 x 9 7/8 in. (25 x 25 cm)

60 loose sheets printed on both sides offset. Printed and published by steendrukkerij de jong Hilversum. 1000 copies promotion piece enlargements from 'daily mirror book'. Inside a folded page with the quote " Note from the editor to this Quadrat-Print.Dieter rot wrote me from reykjavik, iceland: They are part of a group of books I made in the year 1962 out of a bunch of Daily Mirrors”. “Instead of showing quality ( surprising quality) we show quantity ( surprising quantity). I got the idea ( Quantity instead of Quality) in this way: “QUALITY” in Business (f.i. advertising) is just a subtle way of being Quantity-minded. Quality in advertising wants expansion and ( in the end) power = Quantity. So, let us produce Quantities for once!”The editor". This copy has being shipped to 'De Heer H. de Leuw in Amsterdam.. DR. CW. 20 # 20. 25 x 25 cm

Price Upon Request

Dieter Roth
Quick, 1965
935

1 1/8 x 1 3/8 in. (3 x 3.5 cm)

Approx 150 sheets cut out of the magazine 'quick'. adhesive binding softback. Published by d. rot Reykjavik. Approx 150 signed copies.This is the copy n 105. DR. CW. 20 # 23. 3 x 3,5 cm

Price Upon Request

Dieter Roth
Book AC, 1964
1136

16 1/8 x 16 1/8 in. (41 x 41 cm)

Portfolio with 24 sheets of card 12 white 12 black with diecut slots. Published by ives-sillman New Haven. 250 numbered and signed copies; this is copy 44 of 250. DR. CW. 20 # 4.

Price Upon Request

Dieter Roth
Nova Tendencija 3 & Nouvelle Tendance, 1964
13097-BK

6 1/4 x 6 1/4 in. (16 x 16 cm)

Nouvelle Tendance (New Tendency) was an art movement founded in Yugoslavia in 1961, but soon became international in scope. Distinct groups of artists who became associated with Nouvelle Tendance included GRAV, Gruppo T, Gruppo N, and Zero. Included are 2 catalogues of influential group shows: Propositions visuelles du mouvement international Nouvelle Tendance. Musée des Arts Decoratifs, Paris, 1964. Edited by Michel Fare and Karl Gerstner. 105 pp. Artists and collectives included Demarco, Richter, Riley, Uecker, Equipo 57, Groupe de Recherche d'art Visuele, Groupe T and Groupe N. among others. Text in French. + Nova tendencija 3, Galerija suvremene umjetnosti, Zagreb, 1965. 20 x 21 cm, 180 pp. Rare document of a large international group exhibition in Zagreb in 1965. Featuring Gerstner, Von Graevenitz, Mestrovic, Morellet, Munari, De Vries, Rot, Peeters, Ricerca Cibernetica Gruppo, Equipo 57 and others. Text in French, Italian, German, English, Russian and Yugoslavian. Plus 14 pages with stapled program information about Nova tendencija 4, dated November 1968.

Price Upon Request

Dieter Roth
4 Leikpaettir (4 Short Plays), 1963
10122-BK

8 1/4 x 5 7/8 in. (21 x 15 cm)

First edition. Octavo. 89 pages. Book of theatrical plays written by Roth's brother-in-law, Oddur Björnsson, with 5 illustrations of embossed doilies, one on the cover and four inside the book. Published in an edition of just 300 copies. Rare.

Price Upon Request

Dieter Roth
bok 2b, 1961
3426-BK

12 5/8 x 12 5/8 in. (32 x 32 cm)

Approx. 50 pages, letterpress on double sheets, monotype setting, spiralbinding. Letterpress on double sheets, monotype setting. Printed by Prentsmioia Jóns Helgasonar, Reykjavik. Numbered and signed 41 of 100(approx. 10 copies destroyed). DR. CW. 20 # 8.

Price Upon Request

Dieter Roth
bok 3a, 1961
13363-BK

7 x 7 3/8 x 1 1/2 in. (18 x 19 x 4 cm)

Original plain wrappers with title label pasted to front, adhesive binding. A book block composed of approx. 300 leaves from Icelandic daily newspapers; the contents, with their cyclical repetitions, suggest that a stack of remainder newspapers was cut to size to form the book block. Edition of 200 copies, with approx. only 50 of those ever being made. Numbered and signed by Roth on the front cover. Copy #12 of 200. This copy inscribed to a friend with a quote from Goethe - "wie es auch sei, das leben, es ist gut" (No matter what, life is good). Assembled from found material in the printshop, these books were issued in small editions, each volume unique, as the contents were dictated by what was available in the printshop floor at the time

Price Upon Request

Dieter Roth
bok 3a, 1961
3422-BK

7 7/8 x 7 7/8 in. (20 x 20 cm)

approx 300 sheets cut out of icelandic newspapers. adhesive binding softback. Printed by various printers in Reykjavik. Published by forlag ed Reykjavik. Copy Number, signed and dated 1961. Approx 50 copies made. DR. CW. 20 # 11. Exhibited MOMA 2013. Collection Jons Hjalmarsson

Price Upon Request

Dieter Roth
bok 3c, 1961
3423-BK

8 5/8 x 8 5/8 in. (22 x 22 cm)

approx 300 sheets cut out of coloured offset. Run-up sheets. 22 x 22 cm adhesive binding softback. Printed by 3 offset printers in Reykjavik. Published by forlag ed Reykjavik. Approx 40 copies. This is the the copy number 12/100, signed and dated 61. DR. CW. 20 # 13. Collection Jons Hjalmarsson

Price Upon Request

Dieter Roth
bok 4a, 1961
13190-BK

15 5/8 x 11 in. (40 x 28 cm)

artists book approx. 80 pages, letterpress on double sheets, spiral binding. Copy # 3 of 100. Inscribed "for Einar Bragi 16.2.61"

Price Upon Request

Dieter Roth
bok 5a, 1961
3425-BK

8 5/8 x 11 in. (22 x 28 cm)

approx 60 pages offset on doublesheets. 22 x 28 cm spiralbinding. printed by litbra Reykjavík. Published by forlag ed Reykjavik. 100 numbered and signed copies. Approx 95 copies destroyed. This is copy #28/100. DR. CW. 20 # 10. From collection Jons Hjalmarsson

Price Upon Request

Dieter Roth
Dagblegt Bull - Daily-BÁ»l No. 8., 1961
1320

1 1/4 x 1 3/8 in. (3.3 x 3.6 cm)

no 8 of the review 'daily bul'. Published by A. Balthazar and P. Bury. La Louviere. Approx 150 sheets cut out of coloured offset. Run-up sheets. Adhesive binding papercover. cardboard box. correct title 'daglegt bull'. DR. CW. 20 # 17.

Price Upon Request

Dieter Roth
Untitled (Puzzle), 1961
6503-PR

22 1/16 x 22 3/4 in. (56.1 x 57.8 cm)

50 Pavetex equilateral triangles; white silkscreen.
Provenance: Dadi Wirz

Price Upon Request

Dieter Roth
bok 2, 1960
3396-BK

12 5/8 x 7 1/8 in. (32 x 18 cm)

72 pages letterpress on double sheets. Monotype setting. 32 x 18 cm spiralbinding. Printed by d. rot. Published by forlag ed Reykjavik. one of 23 copies with inscription to Manfred!

Price Upon Request

Dieter Roth
bok 2a, 1960
929

9 7/8 x 7 1/8 in. (25 x 18 cm)

65 pages letterpress on double sheets. Monotype setting. Spiralbinding. Printed by d. rot. Published by forlag ed Reykjavik.1 of 35 copies dated and signed unique items. This copy is dedicated to Norman Yves 1961. DR. CW. 20 # 7

Price Upon Request

Dieter Roth
material 1, 2(ideogramme) with 2 supplements, 3, and 5- rare complete set, 1957-59
4130-BK

7 7/8 x 8 1/4 in. (20 x 21 cm)

Artist magazine of concrete poetry. Volume 1:35 pages hectographed, copied, typed, tipped-in, heavy black covers, oversewn with brass clasps. typed and stenciled; Edition of 300. Contributions by Josef Albers, Louis Aragon, Carlo Belloli, Claus Bremer, Bazon Brock Eugen Gomringer, Helmut Heissenbuttel, Anthony Kok, Diter Rot, Marc Sabathier-Leveque, Spoerri, and Nicolaus Werkman. Volume 2 of the review 'material'. Published by d. spoerri darmstadt 1959. Main part. 62 pages small offset. 20 x 21 cm rivetbinding. 200 copies. Supplement 1- 40 pages black and white sheets alternating. 20 x 21 cm rivetbinding. 100 copies. supplement 2-12 pages small offset. 29,7 x 21 cm stapled. 100 copies. Volume 3 Emmett Williams/konkretionen: 31 single-sided pages, various typed and manipulated papers, 29,7 x 21 cm. Volume 4-unpublished. Volume 5 Pol Bury(object) and Gherasim Luca(poems) white printed folded paper with letterpress text and black paper object with black die cut holes holding within 6 white sheets with diecut circular shapes which move when you hsake the object. Very rare to have this piece.

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Dieter Roth
KINDERBUCH/ Children's Book, 1957
3398-BK

12 5/8 x 13 3/8 in. (32 x 34 cm)

28 pages, 4 colour letterpress, geometric shapes with handcut and diecut holes. Spiralbinding printed by holar prent reykjavik. Published by forlag ed Reykjavik. Approx 25 signed copies (with cutouts). Approx 75 unsigned copies (without cutouts). Manfred's second copy also shown in 1994 Dieter Roth show at Living Art Museum in Reykjavik.

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Dieter Roth
KINDERBUCH/ Children's Book- Rare hand cut version, 1957
3397-BK

12 5/8 x 12 5/8 in. (32 x 32 cm)

28 pages, 4 colour letterpress, geometric shapes with handcut and diecut holes. Spiralbinding printed by holar prent reykjavik. Published by forlag ed Reykjavik. Approx 25 signed copies (with cutouts). Approx 75 unsigned copies (without cutouts). DR. CW. 20 #1

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Dieter Roth
Spirale 1 - 9, 1953-64
2339

Probably the most significant document recording Swiss art - especially abstract and Concrete art - in the 1950s and early ’60s, Spirale was the handiwork of Dieter Roth and edited by him with artist Marcel Wyss and Concrete poet Eugen Gomringer (who became recognized for his ‘constellations’ and one-word poems). Their objective recalled the best intentions of magazines from 20 and 30 years earlier to publish a magazine that would ‘embrace poetry, the plastic arts, graphics, architecture and industrial design’. Conceived in 1951, the magazine did not start publishing until 1953. At the same time, and over the course of the life of the magazine, Roth was involved in up to six other independent publishing projects. Although the design and illustrations for the magazine indicate Roth’s committed Constructivist phase, when it folded after nine issues in 1964, he shifted gears from the ‘universal aesthetic language’ to the more ephemeral, personal works for which he may be best known, but Spirale set in motion his obsession with self-publishing, which was a source of the enormously popular trend for photocopied books and early ’zines in the 1970s. Roth’s contributions to the ‘conventions of the page [as] subject-matter [where] a turning page becomes a physical, sculptural element rather than an incidental activity’, set the precedent for future experiments in art magazine publishing that questioned and deconstructed the form of the ‘book’ and presaged a great era in self-publishing. Rare to find a complete set in such fine condition.

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Dieter Roth
Dieter Roth Graphics, 1952 to 1974
13580-OR

A collection of 26 works (eight of which have multiple images) that exemplifies the breadth of
the artist’s productivity in print shops over a dynamic 22-year period.
A list of some of the techniques Roth employed:
1952 – woodblock print, Spirale 1
1954 – metal relief printing, New Year’s Greeting
1957 – screen print, two color (green and red), UNTITLED
1957 – linoleum block printing, kinderbuch
1958 – photolithograph printing of tape pieces, two color, untitled
1960 – rubber stamp drawing on typed letter to poet André Balthazar
1960 – commercial Iris printing with die-cut holes, Folder designed for Festival d'Art d'Avant-Garde
1961 – screen print with die-cut holes, BEWOGEN BEWEGING
1961 – letter press, book 2b
1961 – photo lithographs from rubber stamp drawings, book 4a
1962 – appropriation of commercial printing- Icelandic POST CARD, untitled
1962 – pencil drawing with letterpress, stupidogram
1963 – photographic unknown reproduction of a symmetric machine drawing, untitled
1963 – embossed drawing with printing plate Wasserhut
1964 – stamp drawing with metal, Feather Fringe, self-dissipating
1969 – multicolor screen prints from a postcard onto color offset, Piccadillies
1970 – solid color screen print on offset, German Cities
1971 – etching and dry point, Duet
1971 – photographic etching with halftone from a polaroid, Icelandic landscape
1972 – etching with food pressings - various 3-dimensional objects added, Containers
1973 – planographic printing, Self Portrait as Inhabitants of the Air
1974 – etching and dry point with photographic etching process for the background, Double
heads

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Dieter Roth Scheisse Serie
Die die Die DIE GESAMTE VERDAMMTE KACKE (The the The THE COLLECTED DAMNED CRAP), 1975
4322-BK

10 1/4 x 7 1/8 in. (26 x 18 cm)

(The the The THE COLLECTED DAMNED CRAP). 192 pages, offset, adhesive binding. hardback. Printed by Rainer Pretzell, Berlin. Published by Rainer Verlag, Berlin and edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 400 numbered and signed copies . DR. CW. 40 # 80.

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Dieter Roth Scheisse Serie
Die die Die DIE GESAMTE VERDAMMTE SCHEISSE (The the The THE COLLECTED DAMNED SHIT), 1975
4321-BK

10 1/4 x 7 1/8 in. (26 x 18 cm)

(The the The THE COLLECTED DAMNED SHIT). 344 pages, letterpress, adhesive binding, softback, dustjacket: 4 colour original offsetprint by the author. Printed by Dr. Cantz'sche Druckerei, Stuttgart. Published by Dr. Cantz'sche Druckerei, Stuttgart and edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 400 numbered and signed copies . DR. CW. 40 # 79.26 X 18 cm

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Dieter Roth Scheisse Serie
Die die Die DIE verdammte GESAMTE KACKE, 1975
3465-BK

10 1/4 x 7 1/8 in. (26 x 18 cm)

(The the The THE damned COLLECTED CRAP). 196 pages, offset, multicolored, adhesive binding, hardback. Printed by Rainer Pretzell, Berlin. Published by Rainer Verlag, Berlin and edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 400 numbered and signed copies . DR. CW. 40 # 81.

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Dieter Roth Scheisse Serie
Die die Die DIE verdammte GESAMTE SCHEISSE (The the The THE damned COLLECTED SHIT), 1975
4320-BK

10 1/4 x 7 1/8 in. (26 x 18 cm)

(The the The THE damned COLLECTED SHIT). 260 pages, offset, multicoloured, adhesive binding, softback, dustjacket. 4 colour original offset print by the author. Printed by Dr. Cantz'sche Druckerei, Stuttgart. Published by Dr. Cantz'sche Druckerei, Stuttgart and edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 400 numbered and signed copies . DR. CW. 40 # 78. 26 X 18 cm

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Dieter Roth Scheisse Serie
Fruhe Schriften und typische Scheisse, 1975
3457-BK

7 1/8 x 4 1/2 in. (18 x 11.5 cm)

(Early Writings and Typical Shit). Selected and with a heap of partly digested stuff by Oswald Wiener . 272 pages, offset, adhesive binding, softback . Printed by Druck- und Verlagsgesellschaft mbh, . Darmstadt . Published by edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 1200 copies '(of the edition published by Sammlung. Luchterhand, No. 125, 1973) with additional cover . DR. CW. 40 # 68.

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Dieter Roth Scheisse Serie
die Die DIE GESAMTE SCHEISSE, 1974
3472-BK

10 1/4 x 7 1/8 in. (26 x 18 cm)

192 pages, letterpress. Adhesive binding, hardback. Printed by Rainer Pretzell, Berlin. Published by Rainer Verlag, Berlin and edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 400 numbered and signed copies . DR. CW. 40 # 75.

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Dieter Roth Scheisse Serie
die Die DIE VERDAMMTE SCHEISSE (the The THE COLLECTED SHIT), 1974
4327-BK

10 1/4 x 7 1/8 in. (26 x 18 cm)

160 pages, offset, multicolored. Adhesive binding, hardback. Printed by Rainer Pretzell, Berlin. Published by Rainer Verlag, Berlin and edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 400 numbered and signed copies . DR. CW. 40 # 74.

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Dieter Roth Scheisse Serie
Scheisse - Roth, Dieter. Frische Scheisse oder: Die Korrumpierung der Germanistik, 1972
3977-BK

9 7/8 x 6 7/8 in. (25 x 17.5 cm)

208 pages, letterpress, 25 X 17,5 cm, stitched, softback, dustjacket 5 colour screenprint (numbered and signed unique prints). Supplement: original print, letterpress, black on make-ready paper. Numbered 103/200, dated '72 and signed. Printed by Staib + Mayer, Stuttgart. Published by Verlag in Reykjavik. 200 numbered and signed copies. DR. CW. 40 # 61.

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Dieter Roth Scheisse Serie
Die gesamte Scheisse. Gedichte und Zeichnungen von Diter Rot, 1968
4326-BK

9 7/8 x 7 1/8 in. (25 x 18 cm)

poems and drawings by dieter rot. 160 pages letterpress and offset. Adhesive binding softcover slipcase. Designed and printed by R. Pretzell Berlin. Published by Rainer Verlag Berlin. 400 numbered and signed copies. Nearly all 'shit' poems from 'shit', 'still more shit', 'mundunculum', 'poesy 2', 'snow'. DR. CW. 20 # 38.

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Dieter Roth Scheisse Serie
Scheisse, 1966
3921-BK

9 x 5 7/8 in. (23 x 15 cm)

104 pages, offset and letterpress, handsetting and typewriter. Printed by D. Rot and students of Rhode Island School of Design. Inscribed to Malcolm Grear in 66 .Edition number 5/200. DR. CW. 20 # 24. New poems by diter rot with a supplement by al fabri. 104 pages offset and letterpress handsetting and typewriter. Stapled or adhesive bound softback. Printed by d. rot and students of rhode island school of design. Published by edition hansjorg mayer stuttgart. 200 numbered and signed copies. thereof 170 copies lightblue papercover, 30 de luxe copies half linen and wallpaper with 2 numbered and signed copperplate. Engravings on folded sheet 1 de luxe copy hors com,merce leatherbound. Incl udi n.g a 11 copperplate engravings made for this edition. (see graphics index no 82 and 83).

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Dieter Roth Scheisse Serie
Sheisse Book, deluxe with two etchings, 1966
4087-BK

9 x 5 7/8 in. (23 x 15 cm)

new poems by diter rot with a supplement by Al Fabri. 104 pages offset and letterpress handsetting and typewriter. This is one of the 30 de luxe copies half linen and wallpaper with 2 numbered and signed copperplates, engravings on folded sheet, 1 de luxe copy hors commerce leatherbound. Including a 11 copperplate engravings made for this edition. This is copy #' Extra copy' dated "Juni 1966" with the dedication "fur R.R. von D.R.". DR. CW. 20 # 24. 23 x 15 cm Bought directly from Rudolf Rieser.

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Andres Serrano
MORGUES, 2007
1834

VOL. 9 Andres Serrano photographs Mario Bellatin text Harri Koskinen case Mario Bellatin describes a miniature form of humanity seen through the magnifying glass of a chiropodist, a menace that carries with it the threat of death from which the characters vainly attempt to escape. The last of the five tales ends with the pendulum swing of a woman’s body in long black skirts, dangling in mid air. The five photographs by Andres Serrano are part of the emblematic series entitled Morgues from 1992. They are shown here for the first time. In discussing the corpses photographed in the Morgue, Andrés Serrano insists they do not represent death, on the contrary: “…to me they are very present–almost alive. There’s a very strong human force that comes forth in this series, its skin breathes.” The container designed by Harri Koskinen is formed of two stainless steel hulls with a double strap, evoking the sliding boxes for corpses in a morgue. In each of the five fragments, the text spreads out over fake anatomical parts and the typography chosen for the title incorporates elements from surgery such as the blades of a scalpel and bone fragments… Andres Serrano Born in 1950 in Brooklyn, Andres Serrano grew up in a predominantly Catholic environment, the single child of a Honduran father and Afro-Cuban mother. His father abandoned the family early on and he was raised by his mother, who went in and out of psychiatric institutions all her life. Ever since the mid-’80s, Serrano has been exploring the taboos of American society: religion, sex and racial discrimination. His work is imbued with the influence of classical painting and most notably that of Velázquez, Delacroix and Géricault. A major figure in contemporary art, his work has figured in numerous personal exhibitions throughout the world. Mario Bellatin Mario Bellatin was born in 1960 in México City where he currently lives. He had his first five books published in Perú. His work, translated into German, English and French, is as difficult to decipher as his biography, a life he likes to invent through the course of his various interviews and encounters. His writing, infused with the Japanese aesthetic and photography, stands out for its radical minimalism. Harri Koskinen Harri Koskinen was born in 1970. He lives and works in Helsinki. A graduate of the Taideteollinen korkeakoulu in Helsinki, he had his first recognition at the age of 26 when Iittala brought out his design of a candleholder, the Atlas. In 2000, he created his own design studio, Friends of Industry Ltd. By the mid-’90s he had gained an international reputation with his lamp, Block, a block of white glass surrounding a light bulb—part of MOMA New York’s permanent collection. He is considered to be one of the major figures of Scandinavian design. Description: 5 original signed photographs (Dye Destruction prints), set in photo-corners Case made of stainless steel attached with rubber straps fitted with magnets 39 x 47 x 3,2 cm Text in Spanish and French Limited edition of 50 copies November 2006 Graphic design: Olivier Andreotti

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Miriam Sharon
Earth Works and Desert Projects 1973 - 1976 The Bedouins are the real artists of life; a folk without architects, without physicians, engineers. They are the architects of themselves”¦ Back to the primal game of the child with sand & earth! (Miriam Sharo, 1973-76
11443-BK

14 x 8 in. (35.6 x 21.6 cm)

Miriam Sharon’s ring-bound photocopy book—both a catalogue issued in connection with her exhibition Pulpitation at the Municipal Museum ''Bet-Emanuel'', Ramat Gan, Israel, in 1975 and, per the artist’s statement, an “artwork in itself”—guides readers through “the flow of circumstances” that propel her Earth Works as they emerge from a period of rich and esoteric experimentation during which time the artist used desert spaces as sites for production, developing participatory, ritual-oriented work while living amongst Bedouin tribes. This first edition of this volume was issued in November, 1976, as one of ten copies, within a total edition of one hundred. Only a few copies are known, therefore it is difficult to say if this is one of ten or one of a hundred copies. In either case, it is rare.

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Stackhouse
Nereis Britannica; containing all the species of Fuci, natives of the British Coasts: with Description in English and Latin., 1795-1801
648

Folio. pp. xl, 112, 7, with 2 title-vignettes and 17 handcoloured or colour-printed engraved plates and 7 watercolour drawings. Contemporary half morocco (a little worn). Nissen BBI, 1885. A rare complete copy with the appendix and the 7 watercolour drawings only found in some of the copies. Rare with the coloured drawings which were only issued to subscribers on request. Stackhouse (1742-1819), a Cornish botanist, devoted himself to the study of seaweeds and of the plants mentioned by Theophrastus. About 1775 he erected Acton Castle at Perranuthnoe for the purpose of pursuing his researches in marine algae. The `Nereis Britannica,' which was issued in parts, deals mainly with the seawracks or fuci, and was based on his own researches, together with those of his friends, Thomas Jenkinson Woodward, Dawson Turner, Dr. Samuel Goodenough, Lilly Wigg, John Pitchford, and Colonel Thomas Velley, and the herbaria of Dillenius, Bobart, and Linnaeus. The work is considered important in the history of botany as in it, Stackhouse breaks away from the Linnaean nomenclature generally accepted by algologists. Nissen BBI, 1885; Pritzel 8888; Stafleu 12,728; Henrey II, pp 159-161. A footnote on page xxv states: "For the accomodation of those . who may wish to have delineated Specimens of the whole Genus in one work, I shall leave Drawings with a Lady who has coloured the plates for this work, of all the species enumerated in the Appendix, and sets to bind up with the work will be ready to be delivered on application to the Publisher"." . deals entirely with common seaweeds found on the shores of Great Britain. It is an important book in the history of botany, for, until that time, algologists generally accepted Linnaean nomenclature. Stackhouse, however, was the first to break away from this custom" (Henrey II, p. 159).

Price Upon Request

Dieter Roth Tears Serie
Unterm Plunderbaum. Das Weinen no.2. = Das Wahnen Volume 2B. TRANENEMEER 5, 1979
4118-BK

6 7/8 x 4 7/8 in. (17.5 x 12.5 cm)

528 pages, offset. Sttrched, softback, cover painted by the author. Edited by Dieter Roth and Hansjorg Mayer, Published by edition hansjorg mayer, Stuttgart, London. Edition of 200.

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Dieter Roth Tears Serie
DAS WEINEN : DAS WAHNEN BAND 2A (TRANENMEER 4), 1978
4078-BK

14 5/8 x 5 1/8 in. (37 x 13 cm)

(Sea of Tears 4), 152 pages, letterpress, stitched, softback, printed by Staib + Mayer, Stuttgart, published by edition Hansjorg Mayer, Stuttgart., London, and Dieter Roth's Verlag, Zug. 400 numbered and double signed copies . DR. CW. 40 # 88.

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Dieter Roth Tears Serie
Dars Wahnen (Tranenmeer 3), 1974
1395

9 x 6 3/4 in. (23 x 17 cm)

Reconstruction of the books published by forlag ed. Reykjavik 1961. c. 530 pages, original Comics and Childrens. Colouring Books with diecut holes. adhesive binding, softback. Printed by Staib + Mayer, Stuttgart. Published by edition Hansjorg Mayer, Stuttgart, London, Reykjavik,, 1974. 1000 copies. of which 100 copies wrapped in original. multicoloured screen print by the author. numbered 132 of 200 and signed. Printed by Frank Kicherer, Stuttgart . DR. CW. 40 # 71.

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Dieter Roth Tears Serie
Das Tranenmeer((Sea of Tears) and Das Tranenmeer BAND 2, 1973
3989-BK

7 5/8 x 5 1/8 in. (19.5 x 13 cm)

(vol. 1). 528 pages, letterpress. Stitched, wrapper in special package. Printed by Prentsmidja Jons Helgasonar,. Reykjavik. Published by edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 200 numbered and signed copies. 20 artists copies. This is the copy n 165 of 200 . DR. CW. 40 # 64. (vol. 2). 528 pages, letterpress and offset. Stitched, wrapper in special package. Printed by Prentsmidja Jons Helgasonar. Reykjavik and Grafik hf, Reykjavik. Published by edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 200 numbered and signed copies . 20 artists copies .This is copy 38 of 200 . DR. CW. 40 # 67.

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Dieter Roth Tears Serie
Der Tranensee (lake of Tears), 1973
4061-BK

18 1/2 x 13 in. (47 x 33 cm)

c. 1200 pages, newsprint (original newspapers). Adhesive binding, softback. printed by Luzerner Stadtanzeiger. Published by Dieter Roth, Reykjavik, 1973. 150 numbered and signed copies. This is the copy n 149 of 150 . DR. CW. 40 # 65.

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Jesvin Yeo
Architectural Decoration: Negotiating Symbols Across Time and Place, 2014
13720-BK

10 x 171 1/4 in. (25.4 x 435 cm)

This limited editioned bamboo scroll explores Chinese culture in Singapore showcasing the 3 oldest Hokkien temples in Singapore; Thian Hock Keng(1839), Tan Si Chong(1876) and Siong Lim Sian See(1902). The experience created by scrolling through engraved bamboo strips aims to serve as a platform for better understanding cultural material and to stimulate the interest of younger generations. In this age of constant scrolling of a different sort this is an ode to a more ancient tradition of scrolling.

Combining new technology and old material, where past and present are in continuous dialogue which allows for the depiction of a continuous narrative: the viewing is a progression through time and space. This hybrid scroll is composed of 150 hand drawn illustrations, refined on the computer over 8 months, to be laser etched onto 225 bamboo strips sewn together to create the longest bamboo scroll in Singapore, measuring 4.35 meters(14.27 feet) long.

The content is comprehensive archival documentation of the architecture and design of these temples that is virtually non-existent in English.

“Auspicious themes are a central element of the traditional architectural expressions. Ornaments of legendary beasts, such as dragon, phoenix, and lion, are often reflected on the architecture to symbolize good luck and to ward off fierce evil”

Each copy took five days to complete, and the entire project took Jesvin Yeo and her team over 3 years to complete. Edition of only 40 copies

Jesvin Yeo(she, her, hers)
A third-generation Hokkien Chinese Singaporean descended from Chinese Immigrants. (Hokkien is a dialect originating from the Fu-Jian Province in China. Distinctly different from Mandarin Chinese, it spread to Taiwan in the late Ming Dynasty following development of the Quanzhou area and ports.)

Jesvin’s books are significant to the design field because they not only record traditional trades and crafts for future designers to explore and contribute to the local craft landscape but also examine book design as a form of disappearing traditional craft. Her books are the end product of a series of design explorations, including integrating traditional book forms with new technologies, making traditional book forms more interesting through unusual structures and visual stimuli, and pushing the boundaries of graphic design.

“I just know that I am interested in the dialogue between tradition and contemporary, old and new. Although I work with tradition elements, I create my content with our younger generation in mind. I believe that tradition and culture are symbols of thought and it is important to pass them down. Hopefully our young people can continue to preserve it. Moreover, I feel that a product is made up by a combination of effort from many people, so it has to scream and not just sit subtly.”

Price Upon Request