London: Whitechapel Gallery, 1990
57 x 42cm, black on cream offset lithographic exhibition poster with an image of the famous Boltanski at 5 years and 3 months apart. Artist's first show in Denmark. VG+.
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NYC: John Gibson Gallery, 1974
10.5 x 15cm, 2pp. Announcement card for a second show of editions and multiples. On the front of the card is a well known image of the Beuys family watching Star Trek which is overprinted in Browncross. VG+ condition.
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Paris: Galerie Sonnabend, n.d. (1973)
11.5 x 16.5cm, 1pp typographic announcement card for Boltanski's first solo show in America, only months before he has his first show outside of France in Oxford in the UK. A mailed copy with handwritten address (not by Boltanski). VG+ although slight marks from the franking process. Scarce.
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Little Sparta: Wild Hawthorn Press, 1973
30.5 x 61.0cm, two colour offset lithograph with an image (by George Oliver) of a modern tank in leafy camouflage. The word Arcadia below refers to an unspoilt rural paradise.
The Tate Gallery says of this work (and there is little more to add so we quote it here): "In this print, Finlay draws an ironic parallel between this idea of a natural paradise and the camouflage patterns on a tank. There is also an echo of the Latin phrase ‘Et in Arcadia Ego’ (‘I too was in Arcadia’), used by the seventeenth-century French artist Nicolas Poussin in a painting of a group of shepherds discovering a tomb. Like Poussin, Finlay reminds us that death is present everywhere, even in paradise."
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Copenhagen: Louisiana Revy, 1973
35 x 25cm, 48pp plus wrappers. A single number of this artist's journal associated with the museum. This issue (n 2) has an original two-page contribution by Botlanski - a text translated in to Danish, "OM SIG SELV" which translates to "ABOUT YOURSELF" and is a text taken from a long interview with Uffe Harder. and a page of photographs from an uncredited "Inventory" work showing 40 belongings to an unnamed individual. Not referenced in any catalogue raisonne. VG+.
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Penland: Jargon Society, 1973.
16.7 x 10cm, 48pp. Original pictorial wrappers. A memorial publication for Lorine Niedecker who had died 3 years earlier. Each of 32 poets contributed a work to the book. Finlay who had published her poetry book "My Friend Tree" as the first ever Wild Hawthorn Press book contributed the back cover image of "SONG/ WIND/WOOD" which honours here Niedecker's love for nature.
Jonathan Williams edited this small delight and there are poems by dsh, Gael Turnbull, John Furnival and others. VG condition.
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Paris: Editions Pierre Jean Oswald, 1973
18 x 11.4cm, 96pp plus card covers. This novel cum auto-biography was written under pseudonym by the artist's mother (this was not known if suspected until the mid-80s) and Boltanski provided the frontispiece for the book with 6 b/w images of him attempting to act out various facial expressions associated with sadness. The photographs were taken in a photo-booth.
This copy of the book is an ex-library copy with various stampings and labels inside and on spine but copies are extremely hard to find in any condition.
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Chicago: Allan Frumkin Gallery, n.d. (1973)
25.5 x 15.2cm, 1pp announcement card with a colour image of a felt suit (a multiple by Beuys) on the front above gallery details. A mailed example whihch has become somewhat creased in the experience of the US postal service. Hand addressed and franked Sept 15 1973 on the reverse, else VG.
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Bruxelles: Wide White Space, 1973
15 x 10.5cm, 2pp announcement card for an exhibition of Beuys drawings and gouaches with an image of one such drawing by Beuys on the front, verso gallery details. VG+.
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Sutherland: George A. Oliver, 1973 25.5 x 20.5cm, b/w silver gelatine photographic print showing a sculptural installation at Little Sparta (next to the lake known as Loch Echen) of a nuclear submarine fin which Finla compares to a boat's sail. The photo was taken by George Oliver and sent by Finlay to an Italian Collector. Label on reverse and photographer's stamp in red....
Dunsyre: Wild Hawthorn Press, 1973
14 x 9.5cm, 24pp plus card covers and printed dust jacket. Artist's book where Finlay has listed a number of scenarios where an X might be created - each slightly different. The pages being drawn by George L. Thomson.
From a letter to Robin Crozier in 1970 - Finlay explained the idea: "Finlay says "I must stress that I don't consider this booklet profound. Everyone knows that nuance exists. On the other hand, I get pleasure from showing how much one can change a thing while scarcely from the spot , as it were. If we make dramatic (moving) differences between the visual representations of the Xs, we will undermine the whole point. If, for instance, "Two" and "Duet" are just noticeably not the same 2 crossing lines, we can rely on the words to complete the distinction, without taking it further than that. Likewise, "Duck-pond" needn't really try to depict the wakes left by 2 swimming ducks, but just by the merest alteration in the lines, allows the words to modify the image. Though obviously, if we had a blue rectangle on white one, there, and could have the lines white instead of black that would be pleasing.".
Finlay initially intended printing the book in 1970 with Crozier but changed his mind later for some unknown reason. VG+ although the cheap staples are showing some rust.
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Jerusalem: Musse d'Israel, 1973
20.5 x 18cm, 48pp plus 12 transparent overlays on some pages and card covers. Exhibition catalogue for the first Boltanski exhibition in Israel and also the first time that the artist visited the Jewish state.
This catalogue is notable for a Inventory of an inhabitant of Jerusalem displaying 300 items in the form of photographic contact strips (a slightly different format from previous Inventories).
There is an interview in French with Boltanski and other texts in Hebrew. B/w illustrations throughout. ...