SEARCH THE ENTIRE CATALOGUE BY ARTIST NAME, TITLE, GENRE & KEYWORD

Kranenburg: Hause Van der Grinten, 1963 20.9 x 10.6cm, 4pp. Printed only on the inside with exterior of card blank. Beuy's first ever exhibition invitation with a b/w reproduction of a linocut from 1959 and details of the Van der Grinten collection of Beuys works that were being exhibited in the family's house. The image is a drawing of a piece of ‘chain’ which was a symbolic part of the Büderich War Memorial in Büderich although Beuys typically has added symbols from magnets. It is interesting that some of the artist's formal symbolism and hermetic imagery is already present in this image. Additionally Beuys was still spelling his name as ‘Josef’ at this time (possibly after his father Josef Jakob Beuys). An extremely rare early announcement card in near mint condition. JOINT: As issued - 20.9 x 10.6cm, 1pp insert with details of the signed print issued by the Hause Van der Grinten in 500 examples. Typograsphic only....

Edinburgh; Wild Hawthorne Press, 1963
26 x 21cm, 4pp. The ninth tenth of Finlay’s poetry publication with contributions by Robert Frame, Finlay himself, Eugene Gomringer, Anselan Hollo, Dom Sylvester Houedard, Robert Lax and Edwin Morgan. This number was printed in part red on white and was designated by Finlay as "the Concrete number" and all the poems included can be regarded as such. There is an abstract illustration by Robert Frame as an insert (printed b/w).
ALSO INSERTED:
FROM BURGOS JAIL.
29.5 x 19.5cm, 1pp. Folded. Promotional leaflet printed green and black on white published by Appeal for Amnesty in Spain: for a poetry book protesting fascist political prisoners under Franco.
This was the first issue to break with the previous size format - thereafter while most numbers were 26 x 21cm, some were smaller or even oblong. New printing techniques were being used also - the earliest numbers of POTH were laid up using pretty much only type - these slightly later numbers were pasted up and some typesetting also used (which allowed more flexibility in design and made reproducing visual and concrete works more easy (and accurate).
*********
One poem by Morgan on the back page was mistakenly corrected by the printer (Gaol was corrected to Goal) so each copy was hand altered to indicate the correct format - it should have been thus:

BRAZILIAN "FOOTBALL"
1958 - Goal! Goal! Goal!
1962 - Goal! Goal! Goal!
1964 - Gaol! Gaol! Gaol!

...