Edinburgh: Demarco, 1973
2-.5 x 25.5cm, offset reproduction of original photograph (now lost) with reproduced hand-annotations by Richard Demarco who took the photograph during a visit to Boltanski's studio in Paris. Mounted on board (for exhibition) this was later signed in blue ink by Christian Boltanski. VG+
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Little Sparta: Wild Hawthorn Press, 1973
30 x 21cm, 4pp with silver and black on white lithograph on the front, content of two sheets - one light blue typing paper and the other a lined "STATIONERY" page much as used by children to line up their handwriting on a blank page (such as the blue sheet). The work plays in part on the homonym "stationery" (stationary). The lined paper visually is also much like a channel or a canal with parallel banks. Button's front cover drawing is minimal and of a boat in outline cutting through the water with an ever-widening wake behind it. This is one of 300 signed and numbered copies in green ink by Finlay. VG+.
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Heidelburg: Edition Staeck, n.d. (1973) 10.5 x 15cm, 2pp artist's postcard with a handwritten design on the front and verso publisher details. This example (one of Beuys' early collaborations with Klaus Staeck) is signed across the front of the card by Beuys in pencil. VG+. Now scarce....
Dusseldorf: Stadtische Kunsthalle, 1973
31.5 x 22cm, b/w folder illustrated with images from the exhibition catalogue content of a further black on pink folder and 13 loose 30 x 21cm, 2pp sheets with contributions from each of the exhibiting artists - Enrico Baj, Michael Sandle, Edward Kieholz amongst others.
Boltanski has a 2pp original contribution - 9 appropriated b/w images of members of the Club Mickey (a Walt Disney fan club) taken from the larger installation of 62 photographs exhibited. A short explanatory text in German by the artist:
"I was eleven years old in 1955 and I was like these 62 children whose photo was featured in Club Mickey magazine that year. They had sent in the picture they thought best represented them: smiling and well coiffed, or with their favourite toy or animal. They had the same desires and interests as me.Today they must all be about my age, but I cannot find out what became of them. The image that has remained of them no longer corresponds to reality, and all these children's faces have disappeared, (...
Dunsyre: Wild Hawthorn Press, Summer 1973
Two 25.5 x 20.4cm, 1pp offset lithographic price list for the Press stapled top left. Mentions a long list of old and new publications from the Press with prices. Date is circled in red top right else VG+.
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Berlin: Rene Block, 1973
14 x 10.5cm, 1pp b/we announcement card for the release of Beuys “Das Schweigen” film multiple – an Ingrid Bergmann film which was coated in metal to seal it and make a sculpture. A rare early card. VG+.
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DIjon: Musee Rude, 1973
30 x 21cm, 76pp plus card covers. Exhibition catalogue that should be regarded as a joint artist's book - with original contributions by Boltanski, Le Gac and Annette Messager.
Boltanski's part is "5 BROUILLONS DE CHRISTIAN BOLTANSKI MARS - MAI 1973" - five hand-written texts in facsimile of the artist's handwriting which discuss various projects undertaken in the past year.
Le Gac has "L'ENQUETE" - a quasi thriller short story with one b/w image. Messager has "SUR LES TRAVAUX DE L'ATELIER" - again texts in reproduction of her originals although typed. `
VG+ condition. Scarce.
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Oxford: Museum of Modern Art. 1973
18 x 11cm, 8pp (self cover). An early artist's book which shows 52 small b/w images of what is claimed to be the belongings of a woman (it is not clear if she is dead or alive) from "hankerchiefs to cupboards". This is one of the artist's first "arxhive projects" where a life is displayed through the things owned by an individual.
In a note at the end Boltanski explains that he had written to a number of museums to initiate such a project - to show the things owned by an anonymous person with "concerning themselves with such things as classification and labelling" - most refused however Peter Ibsen at the Museum of Modern Art in Oxford agreed to the show and this book both is the documentation, catalogue and artist's publication from that event. VG+.
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Dunsyre: Wild Hawthorn Press, 1973.
10.5 x 14.8cm, 2pp. Artist's card a photograph of a model airplane by George Oliver. The model by Finlay is a biplane with floats and is floating above a sink of water with the plug in as if it has just landed.
The decals on the model are British roundels - the circular blue, white and red symbols that indicated the plane was a British fighter. The shape of the plug is very similar to the roundels and hence in its own way might be regarded as a decal. Hence the plug might be regarded as a bath roundel. VG+.
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Dunsyre: Wild Hawthorn Press, 1973
7.9 x 11.3cm, 6pp single folding card which opens to 11.2 x 34.3ccm. The front of the card has the word COPYRIGHT and once the card is opened the drawing by Costley of a steamer has a red C on the funnel - a symbol that means "copyright". A company brand symbol used to indicate others had copied the boat. This is one of only 300 such card printed - each is numbered and signed by Finlay in ink.VG+ example
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Heidelberg: Edition Staeck, 1973
10.5 x 14.5cm, 2pp. Artist designed postcard issued as Series D, Nr 2 with the reproduced title text on the front which translates into “Every grip must sit”. This example is signed by Beuys in pencil on the front, verso stanard postcard design. VG+. Ref: Schellmann P 9.
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London: LA Wallrich Books, n.d. (1971)
22 x 14cm, 400 (including wrappers - a book dealer's catalogue only notable for the cover design by Finlay of Homage to Jonathan Williams. Finlay is thanks for the contribution by the publisher. The internal pages list books available for purchase but here the page listing Finlay has been torn out neatly. It does not really matter - with that exception this is in VG condition.
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