Copenhague:Berg, 22 Aout 1972
21 x 14.8cm, 1pp . Original carbon copy of a typed and signed letter from M Berg enclosing a Danish newspaper clipping of an early exhibition reviews that not only mentioned Boltanski but had an image of the "Familie D"photographic installation. The paper on the newspapers is browned else VG.
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Paris: Edition Multiplicata, 1972
21 x 13.5cm, 20pp plus card wrappers. First edition of this artist's book that supposedly shows ten different portraits of the younger Boltanski from the age of 3 to age 20. All but the last of the children photographed are not Boltanski but friends and relatives (Christophe Boltanski the artist's nephew is one of the models) and were all taken by Annette Messager on a single day inJuly 1972. The last image is of Boltanski supposedly at 20 years of age but when the photograph was taken he was 28. Yet another example of the fictionalism of the artist's work - history is erroneous and cannot be trusted. Nor can artists although on the back page the date of the photography is revealed so at least the deception was only temporary for the careful reader. VG+ condition.
Referenced in Flay Christian Boltanski Catalogue 1992, Page 74.
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Dunsyre: Wild Hawthorn Press, 1972
7.5 x 7.5cm, 12pp plus wrappers and pictorial dj - artist's book with two drawings of triangles - one is denoted as a Sail, the other a sundial. Then tweo triangles are a schooner (a boat with two sails) and finally the numbers I - XII - is a fleet - presumably the boat numbers. Simply a visual pun based on the sundial,.
VG but the staples are somewhat rusted.
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Amsterdam: Seriaal, 1972
21cm x 15, 2pp announcement card with the title work (translates to "BACK SUPPORT FOR A FINE LIMBED PERSON (HARE TYPE) FROM THE 20TH CENTURY") on the front. Verso details of the work. VG+.
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Little Sparta: Wild Hawthorn Press, 1972
25 x 34.5cm, grey-green on white offset lithograph with a drawing by Karl Torok of a garden sculpture which has a hidden fountain and water is sprayed out of the side of the cruiser - much as if it was draining its bilges. In printed card folder on which the print is signed and Numebred in pencil by Finlay.
Slight bumping to left of both print and folder but overall VG and very are.
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Los Angeles: Black Sparrow Press, n.d. (1972)
20.5 x 12.5cm, 1pp red and brown on orange announcement leaflet for Finlay's book - with one design for a sun dial: The Four Seasons as Fore-and-Afters". VG+.
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Dunsyre: Wild Hawthorn Press, 1972
14.8 x 10.5cm, 2pp artist's postcard with six line drawings of parts of modern destroyers and an elevation of the whole battleship. The style by Stuart Barrie is a thin line above a flat purple which reflects much of Wassily Kandinsky's sprawling stylish paintings. Purple being a colour often used by the pioneer of abstract art. The various towers and gun placements drawn here take on figurative overtones - seeming to be alive and threatening.
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Edinburgh: Scottish Nati0nal Gallery of Modern Art, 1972
18.5 x 12cm, 1pp mostly typographic announcement/invite card for Finlay's first museum show. VG+. A scarce card.
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Hamburg/Paris: Grossman Verlag/Edition Sonnabend, 1972
20.8 x 14.6cm, 32pp plus card covers. Thirty-two b/w images of the adult artist recreating his early life as a young child with descriptions which ignore the fact that Boltanski is not a child. The photographs were all taken by Annette Messager. This is one of 500 copies published. The cover has a couple of brown marks (possible foxing) else VG+.
JOINT:
Two 19 x 12.5cm, 1pp b/w inserts with English and French translations of the legends.
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London: Serpentine Gallery, 1977
19 x 14cm, 56pp plus 16ppp b/w plates. Original wrappers . An exhibition catalogue with a long essay by Stephan Bann illustrated throughout. One of the first long essays on Finlay by his long term friend and collaborator Bann. VG+.
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Dunsyre: Wild Hawthorn Press, 1972
12 x 16.6cm, 2pp artist's postcard with the text drawn by Stuart Barrie: "Jean Gris. His knife and fork" as if on a book cover. Daniel-Henry Kahnweiler was a famous art dealer who worked with the cubists and other avant garde artists including Gris who drew one of the best known portraits of Kahnweiler - who in turn wrote a seminal work on the painter. The reference to "knife and fork" suggests that the dealer was essential to Gris' practice (and may be a quote from the latter about Kahnweiler, we do not know?). It is also worth pointing out that the colour of the drawing here is grey - which is a translation of the painter's surname. VG+
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Dunsyre: Wild Hawthorn Press, 1972
13.5 x 16cm, 2pp - Harvey's drawing of an Barque (a ship with three or more masts) has numbers associated with each part as if a "painting by numbers" - only every colour is a virginal white. Williams was a long term friend and collaborator/publisher of Finlay. In truth this is the one Finlay reference/meaning I cannot fathom - if you know then do get in touch.
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