Monchengladbach: Stadtischen Museum Abteiberg Monchengladbach, 1993
21 x 14cm, 96pp plus original typographic card covers. Artist's book listing the acquisitions by all of the art museums of the Rhineland during the years 1935 - 1945. The various museums included here have the artists and their works listed by alphabetic order. Some works are reproduced in b/w.
The decade chosen by Boltanski includes the pre-Nazi years until the end of the war and it is noticeable that there are few if any avant garde works purchased/acquired (the Nazis after all campaigned against "degenerate art" and this presumably was reflected in the acquisitions policy of the museums - most of the works are realistic landscapes and figurative portraits and statuary.
VG+. This example is signed by Boltanski on the first title page.

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Little Sparta: Wild Hawthorn Press, 1993
10 x 10cm, 4pp. Folding card with a line drawing by Stephen Duncalf, of a plastic model of a tank on the front - the various parts waiting to be assembled are still on the plastic stalks. Inside is a poem:

AUTUMN.
brings us again
familiar colour<Desert Yellow,
Panzer Grey.

The colours of the Fall are conjured up in the colours used by model makers for tank camouflage. VG+.

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Paris, Yvon Lambert Editeur, 1993
Two part blue cardboard box with handwritten title label content of 19 sheets containing Lebensztejn's text "Une rêverie émanée de mes loisirs," each accompanied by an original line drawing by Boltanski on tracing paper.
Each text page is thus overlaid with a drawing; the lines, drawn in 5 color pencils, link letters in the text, with the combinations of letters forming quotations from 5 writers; a letterpress key to the drawings gives the quotations (from Tadeusz Kantor, Federico Fellini, Jacques Demy, the Talmud and Ingmar Bergman) in mirror writing. Each text sheet/drawing pair is enclosed in a green paper folder.
There is an introductory page and a colophon page as well as a sheet explaining the work with the key to the drawings.
Boltanski's intervention into the book finding hidden texts within the larger commentary.
Very good condition with some minor fading to the blue box but internally VG++. Scarce.
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Little Sparta: Wild Hawthorn Press, 1993
12.2 x 8cm, 4pp. Folding card with a drawing by Gary Hinks on the front which is in the style of the Edlich who used wood and other found objects in his cubist-like works. Here the drawing shows what looks like a found piece of wood with the word "JACOBIN" on it. One assumes Finlay felt that Edlich was somewhat Jacobin in his life. VG+.

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Frankfurt am Main: Stadtische Galerie im Stadelschen Kunstinstitut, 1993 65 x 49.5cm, red and black on white offset lithographic exhibition poster with one b/w photographic image above museum text. Folded for storage else VG+....

Little Sparta: Wild Hawthorn Press, 1993
11.6 x 9.2cm, 16pp plus card covers and dust jacket with title label. A proposal for the Gyle Shopping Centre, Edinburgh which consisted of seven bollards near a landscaped area each with two boat names and registration number etched on them one above the other to create seven short poems. Drawings by John Andrew and Gary Hincks. In the notes Finlay explains each poem and its Greek reference.

One sich poem is:

OLIVE
LEAF
BCK 210
SERENE
BF46

which creates an appeal for peace. Finlay notes a Shakespeare quotation "and peace proclaims olives of endless age".

VG+. ...

Little Sparta: Wild Hawthorn Press, n.d.
18 x 14cm, 4pp brown outer folder content of a 4pp insert with a poem by Finlay:

AUTUMN.

The woods
milestones

The mountains

signposts.

Finlay indicates how the distant hills act as means of orientating a traveller and the trees act as steps on the way in any rural journey. VG+.

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Little Sparta: Wild Hawthorn Press, 1993
18.5 x 12.2, 4pp. Folding card with a reproduced colour painting by Gary Hincks on the front which is a wild rose. The date 1794 was an important year in the French revolution as it not only saw the death of Danton by degree but also the Law of 22 Prairial where Robespierre centralised his unofficial dictatorship over the country by removing rights of defendants when accused of sedition or slandering the state. The wild rose for Finlay (which here has a bud alongside a fully opened flower) is signifying the wild actions of the Committee for Public Safety but also the potential of the revolution (which ultimately failed like most and returned France to the monarchy then Napoleon's despotism). This "definition" was used by Finlay in other works including a limited edition vase for wild flowers. VG+.

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