paul robertson, Author at Unoriginal Sins

18 Aug UNNATURAL PEBBLES WITH DETACHED SENTENCES ON THE PEBBLE. 1981.

Posted at 10:53h in Artist's Books

Edinburgh: Graeme Murray Gallery, 1981 16 x 16cm, 60pp plus card covers and printed dustjacket. Three fold outs and one work reproduced in colour as frontispiece. Artist's book (one suspects it was also an exhibition catalogue given Murray was the dealer for the works included but this is not mentioned and Finlay is noted as having designed the book) which shows duotone images (by Hani Latif) of 17 inscribed large pebbles (or rocks really) with found texts from philosophers, poets and others. The texts on the stones reflect the quotations. The sculptures were made under Finlay's instruction by Richard Grasby. One thousand copies were printed. VG although slight rippling to the dustjacket.
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13 Aug ROBBE. 1981.

Posted at 14:08h in Joseph Beuys Postcards

Bonn: Galerie Klein, 1981
15 x 10.5cm, 4pp announcement for a portfolio of four lithographs by Beuys in "Brauntone" issued in a limited edition of only 150 examples. One of the works of a seal reproduced on the front in b/w. Serrated subscription/reply card still attached. VG+. ...

09 Aug THREE BEUYS’S POSTCARDS IN POSTCARDS BY TONY CRAGG NINO LONGOBARDI MIMMO PALADINO JOSEPH BEUYS ERNESTO TATAFIORE DAVID SALLE. 1980/81. ONE BEUYS CARD & ENVELOPE IS SIGNED & STAMPED.

Posted at 09:28h in Joseph Beuys Postcards

Napoli: Lucio Amelio, 1980/1981
20.5 x 14.5cm, printed manilla envelope content of twelve artist designed postcards by Cragg, Longobardi, Paladino, Tatfiore and Salle alongside three postcards by Beuys. Beuys' contributions are two b/w images of the installation Terremoto in Palazzo (1981) and a drawing from the same work - the card of which is signed in red felt tipped pen by Beuys. All VG+ in a printed envelope which has been signed and stamped by Beuys. Scarce. Not in Schellmann.

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01 Aug RIPPLE. 1981.

Posted at 14:52h in Artist's Postcards

Little Sparta: Wild Hawthorn Press, 1981
11.5 x 21.5cm, 4pp. One of Finlay's "definition" works - the word RIPPLE is defined as a small, often dark-blue fold or dent resembling a wood-chip. Will float on fresh or salt water in all light airs. The paper used here is a turquoise (possibly more green than blue) and the definition is the only text on it inside. The "dent" or "fold" referred to presumably indicated the fold in the paper here (there is no other reason for the paper to be folded otherwise). The fold also hints at the way a boat bottom is shaped to allow floating. VG+.

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28 Jul TERREMOTO IN PALAZZO. AMBIENTE (PARTICOLARE). 1981. SIGNED BY BEUYS.

Posted at 13:11h in Joseph Beuys Postcards

Napoli: Lucio Amelio, 1981
15 x 21cm, 2pp postcard card with an installation view of the title exhibition. This example is signed in red felt tipped pen by Beuys on the front. Verso publisher's details. VG+ although the red ink on the signature is slightly broken up because of the gloss finish to the card.

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25 Jul EXHIBITION JLB. 1981. WITH ORIGINAL MAILED ENVELOPE.

Posted at 16:04h in James Lee Byars

Amsterdam: Der Appel, 1971
23.5 x 18cm, 1pp. Typographic announcement leaflet for a exhibition in Holland.
JOINT WITH
Original mailed envelope (complete with wax seal) Mailed copy.

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25 Jul NEW WORK. 1981.

Posted at 11:38h in Joseph Beuys Postcards

London: Anthony d'Offay. 1981 10 x 14cm, 1pp typographic announcement card for a group show of new work by Carl Andre, Joseph Beuys, Sandro Chia, Rainer Fetting, Gilbert & George, Richard Long, Bruce McLean, Nicholas Pope, Julian Schnabel, Boyd Webb and Lawrence Weiner. VG+. ...

23 Jun ANGELIQUE ET MEDOR. 1981.

Posted at 21:23h in Prints + Posters

Little Sparta: Wild Hawthorn Press, 1981
22.8 x 16.5cm, two colour lithograph in printed folder. Design and drawing by Nicholas Sloan.
Angelica and Medoro are two characters from the 16th-century Italian epic Orlando Furioso by Ludovico Ariosto. Angelica was an Asian princess at the court of Charlemagne who fell in love with the Saracen knight Medoro, and eloped with him to China.
Angelica had a habit of carving the lovers' names onto trees which the print here reflects - and as the folder text explains, Finlay used their French names so that the accents on the words would reflect the marking on the tree bark. Additionally the image resembles an ex libris or bookmark.
One of 300 printed. VG in like folder.

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16 Jun DIFESA DELLA NATURA. 1981. SIGNED BY BEUYS.

Posted at 18:26h in Joseph Beuys Postcards

N.p.: (Pescara): n.p. (Lucrezia De Domizio), 1981 21 × 15.2cm, 2pp artist postcard published by Lucrezia De Domizio as part of the Beuys campaign “Difesa della Natura” - on the front is a portrait of Beys by Buby Durini. This card is signed in red felt tipped pen by Beuys on the front. Minimal text on the back. VG+. ...

07 Jun CONPOSITION GROTESQUE. 1981. SIGNED BY BOLTANSKI.

Posted at 21:47h in PRINTS

Lyon: Le Nouveau Musee, 1981
10.5 x 15cm, 2pp. Colour photographic postcard showing a Boltanski installation of mobile small sculptures which were shown in highly dramatic lighting. This card has been signed by the artist on the front by scratching the surface of the card. Verso image details. VG+.

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01 Jun IN THE BACK OF EVERY DYING CIVILISATION STICKS A BLOODY DORIC COLUMN. 1981.

Posted at 15:56h in Artist's Postcards

Little Sparta: Wild Hawthorn Press, 1981
11.5 x 15.5cm, 1pp. two quotations placed against each other for humour and also making the point that classicism is not dead and is an important theme of civilisation:
"In the back of every dying civilisation sticks a bloody Doric column" - Herbert Read
against
"In for foreground of every revolution invisible, it seems, to the academic stands a perfect classical column" - Claude Chimerique. Claude Chimerique is in fact a spoof figure so the quote is in fact Finlay's response to Read.

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29 May RAUM: 90.000, – DM. (1980). 1981.

Posted at 10:16h in Joseph Beuys Postcards

Koln: Galerie Jollenbeck, 1981
10.5 x 15cm, 1pp black on white card typographic announcement card for the title installation. VG+.

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