Nevers: Centre d'art contemporain, 1990
15 x 10.5cm, Two bound in printed 6pp single sheets in outer 8pp wrappers. Ostensibly an exhibition catalogue but in fact a joint artist's book with Cutts. The two sections of the inner fold outs have on the left a text "a line of thin pale blue" and the sheet is bound in by a blue thread. This is claimed to be a "translation of a line by Mallame (a poet who can lay claim to have published the first ever concrete poem). On the right section there is a text: "a line of thin pale red" and the sheet is bound in by a blue thread. This is a "translation of a line by Chenier." André Marie Chénier was a poet who lost his life on the guillotine only three days before the overthrown of Robespierre.
The first is a line referring to the horizon, the second to the line of blood from the throats of the murdered - opponents of the Terror sometime wore thin red threads around their body to indicate their mourning for the dead.
A lovely artist's book - the theme (red thread) of which Finlay used in sculptures such as Aphrodite of the Terror from 1987.
Explanatory texts in English and French. . VG+.

...

Berlin: Galerie Jule Kewenig, 1990
49.5 x 39cm, 8pp (self cover). Exhibition catalogue in the form of a tabloid newspaper, two large b/w images of sculptural works by Finlay, an illustrated text in English and German on the Battle of Little Sparta and a double centre fold displaying the Crate Furniture for Sans-culottes. Folded into sixes as issued. VG+.

...

London: Victoria Miro Gallery, 1990
21 x 15cm, 4pp. Original printed pink glossy wrappers . An exhibition catalogue with no illustrations only a commentary by Stephan Bann internally on the them of Idylls in Finlay's output with particular emphasis on the neo-classical works. VG+.

...

Little Sparta: Wild Hawthorn Press, 1987 29.6 x 21cm, 4pp folded sheet with a proposal for a walled pool with "granite, water and white neon". Finlay notes "the proposed sculpture treats the building's entrance hall as an atrium: it brings the 'clouds' (in five languages, including Spanish) down through the distinctive tower and dome, to be reflected in the pool. There is a reproduced colour drawing of the pool in plan and in side by Andrew Townsend. VG+. ...

Little Sparta: Wild Hawthorn Press, N.D. (1990)
19 x 13.3cm, 1pp artist's card with a drawing by Gary Hincks of American battle decals (stars) placed such as there is a visual correspondence with a patch of water-lilies. VG+. ...

NYC: n.p., 1990
5 x 5cm, colour transparency with a colour image of the Boltanski sculpture ""Reserve of Dead Swiss"" from 1990 which was shown at the MCA in Chicago. Handwritten legend on the plastic - a slide provided by a gallery to press or clients. VG+.

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Edinburgh: Morning Star Press, n.d.
4 x 0.5cm, machine embroidered name patch issued as part of a book publication by the Press – here separately mounted by stitching onto a 5.4 x 18.7cm unprinted card. The red thread has three names of boats "Tom", "Dick" and "Harry" but together reminds one of the cliche. VG+ condition.

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Little Sparta: Wild Hawthorne Press, 1990
30.4 x 12.5cm, two printed card labels with string and twine respectively in envelope.
The more extreme Jacobin grouping within the French revolution are compared with the Girondists (who were also committed revolutionaries but who were ousted in the insurrection of 31 May – 2 June 1793 as being insufficiently committed to rooting out perceived traitors to the cause). The latter insurrection of the more extreme of the Sans Culottes led to the Reign of Terror. Twine is much rougher than string - and the metaphor is that of the less cultured people of Paris being less sophisticated and less willing to accept compromises. Only 100 copies of this simple but striking object multiple were made. VG in like envelope.

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Little Sparta: Wild Hawthorn Press, 1990
14 x 12.4cm, 4pp and printed card wrappers. The cover drawing of a boat is by Gary Hincks, internally are two poems by Finlay.

3 Sailboats
Juan Gris
Jean Cocteau
Erik Satie

opposite to

3 Sansculottes
Puvis de Chavannes
Camille Pissarro
Jean_Baptiste Corot

Finlay is associating the the thematic interests of the latter three painters (the lives of the poor and oppressed) against the bourgeois interests of Gris, Cocteau and Satie. The sansculottes being the working class mob in Paris during the revolution who could by sheer numbers overthrow the various attempts at moderate government and led eventually to the rise of Robespierre and the Terror. VG+.

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London: Whitechapel Gallery, 1990
76 x 51cm, full colour offset lithographic exhibition poster with an image of one of the "falling angels" shadow play works. VG+.

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London: Trustees of the Whitechapel Art Gallery, 1990
312 x 26 x 4cm, two part cardboard box with tipped on label content of 18 items some of which are reprints of early Boltanski artist's books.
The contents are four booklets with new content:

"Christian Boltanski: Reconstitution" exhibition catalogue, with essay by Lynn Gumpert, 40 pp., with numerous colour and black and white illustrations
"Christian Boltanski 1944-90" catalogue of works, exhibitions and bibliography, 36 pp., with numerous black and white illustrations
"Christian Boltanski: an Interview with Georgia Marsh, " 48 pp., with five black and white illustrations


And five reprints of soft cover artist's books:
"Reconstitution des gestes effectués par Christian Boltanski entre 1948 et 1954, "
"10 Portraits photographiques de Christian Boltanski 1946-1964, "
"Recherche et presentation de tout ce qui reste de mon enfance, "
"Inventaire des objets ayant appartenu a une femme des Bois-Colombes"
"Saynetes Comiques" 32 pp., with 22 black and white illustrations
Additionally there are two facsimile letters:
"Lettre de demande d'aide";
"Lettre aux conservateurs de Musee proposant le projet des inventaires."
And:
"Christian Boltanski a l'honneuer de vous faire ses offres de service, "
"Dispersion a l'amiable".
"Christian Boltanski a 5 ans 3 mois de distance";
"Christian Boltanski et ses freres".
Three color postcards: "Image modèle (La régate), 1975; "Composition decorative, " 1976; "Affiche, " 1974 and a colour poster: "L'Ange d'alliance, " 1986

The box applies Boltanski's interest in reconstituting the past to himself and his artistic career. Some of the books are hard to tell from the original first editions which is an issue for book dealers.
VG+ contents in like box although one booklet has slightly rusted staples. ...

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