Heidelberg: Edition Staeck, 1973
10.5 x 14.5cm, 2pp. Artist designed postcard issued as Series D, Nr 1 with the reproduced title text "Gib mir Honig" on the front which translates into “Give me honey”. This example is signed by Beuys in pencil on the front and rubber stamped with a FIU impression in blue, verso standard postcard design. VG+. Ref: Schellmann P 9.

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NYC/Koln: Avalanche Magazine/Kolnischer Kunstverein, 1973
15 x 10.5cm, 4pp. A subscription card for the WIlloughby Sharpe and Liza Bear conceptual art magazine which displays the cover of the first number on the front which features a portrait of Joseph Beuys. Internally the first 8 magazines are show with short contents - all in German which is a little surprising given the magazine was in English and published in the USA but the card also notes an exhibition of the magazines in the Kolnischer Kunstverein. VG+.

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Milano: Studio Marconi, 1973 12 x 15cm, 1pp typographic announcement card for one of the first manifestations of "Arena—Dove sarei arrivato se fossi stato intelligente!"(Arena—where would I have got if I had been intelligent!) which consisted of a large number of panels with photographs covering the span of Joseph Beuys’s career up to 1972, including documentation of key objects, concerts, and actions, as well as personal life events. Ranging from the late 1940s to the early 1970s, Arena is usually regarded as "less an autobiographical statement than an allegorical portrait of Beuys’s artistic persona." The work was shown a number of times after this exhibition with changes in placement of the panels and other items as well as additions. The card is signed by Beuys in pencil. VG+. ...

Beckett, Samuel NOT I London: Faber & Faber, 1973 19.5 x 12cm, 16pp plus original wrappers. First edition of this printing of the famous solo play where an isolated mouth tells a rambling tale of a life from the point of death backwards. Byars has appropriated this important book as he often did with publications he deemed important or, in some way, conceptual and has written in pencil "J. LOVES J." on the first blank page in his starry letting. He then sent the book to James Butler - his close friend and gallerist. The text means "James Loves James". A unique work with amazing association....

London: Studio International Ltd, 1973
30.5 x 24.5cm, 160pp plus card covers. Single number of the long running and very important art journal - to which Boltanski has added a page work (taken from the book of the same title) of a child making a paper airplane. Offered as part of a section on contemporary French art. Some wear to spine and glue beginning to weaken after nearly 50 years. Else VG.

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Karlsruhe: Galerie Grafikmeyer, 1973 12.07 x 20.6cm, 1pp letterpress printed black on light brown thick cardboard. A printed limited edition multiple in card format by Beuys created after his dismissal as a lecturer at the Dusseldorf Akadamie for protesting. and shows the artist's Only 300 such signed copies after 50 artist's proofs were released. VG+. Schellmann nr 69. VG+. ...

Woodstock, NY: National Shakespeare Company Experimental Art Center, n.d. (1973) 35.4 x 25.5cm, 1pp poster printed black on yellow for a three-day festival including work by over 15 artists; Jud Yalkut being one of them. Folded horizontally for storage else VG. ...

Dunsyre: Wild Hawthorn Press, 1973
21 x 13cm, 8pp - a sheet of white tissue paper folded once lengthwise, printed with text and drawings by an uncredited artist inserted in slightly larger blue sheet similarly folded. An ephemeral artist's book where butterflies are likened to Japanese aircraft suicide bombers and cherry blossom to other fighter craft. VG+. Scarce.

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St Etienne: Musee d'art et d'industrie de St Etienne, 1973 32 x 24cm, outer manilla folder which appears to be hand made and with carefully written titles and lists of artists. Internally there are 26 different 30 x 21cm, 1pp sheets with biographies and texts on the participating artists and some images (poor quality reproductions) of some of the works with the look of the pages being like bad xerox copies but printed. The outside of the cover notes the exhibition as being of Minimal Art and Hyperrealism from the USA and Support-Surface art from France and the participants include Bertholin, Cane, Bechtle, Cottingham, Don Eddy, Salt, Staiger, Flavin, Judd, LeWitt, Stella, Le Gac, Messager, Meurice, and Viallatas well as Boltanski. Boltanski's contribution is a reproduced photograph of the artist pretending to be a young boy approaching swans on a pond from 1972. This publication is unknown in any literature and it is possible this is a maquette for a non-printed catalogue. The hand drawn cover (which the pencil and red felt tip pen ink is fading and where the guide lines for the text to be written can still be seen) and the poor quality interior pages suggests this is exactly that. Clearly a rarity and possibly unique, this would be one of Boltanski's earliest group shows....

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