Unoriginal Sins |

18 Feb POETRY 66. 1966. A FAKE POEM BY FINLAY.

Posted at 22:39h in Miscellany

Nottingham: Trent Book Shop, 1966
25.4 x 10cm, 6pp. Announcement and brochure for this small show of concrete poetry which showed works by dsh, Gael Turnbull, Jeff Nuttall, Hugh MacDiamidf, Bob Sobbing, Edwin Morgan, Jonathan Williams, John Furnival, Tom Clark, and others but NOT FInlay. There is a short poem reproduced which is ascribed to Finlay called “No Thank You, I Can’t Come” but was written by Simon Cutts which is a parody of the format of "Dancers inherit the party" and is a sly and funny dig at Finlay for not participating. VG although a former soft crease top left on the card. Very scarce.

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14 Feb TYPED SIGNED LETTER FROM BOLTANSKI TO M. BERG. 14 FEBUARY 1966.

Posted at 21:27h in LETTERS AND DOCUMENTS

Paris: Galerie Tournesol, 14 Fevrier 1966
21 x 13.5cm, 1pp hand typed letter from Boltanski on Galerie du Tournesol letterhead paper to M. Berg thanking the collector for his cheque. Boltanski points out that A very large painting by Ramon was a great success at the last Salon de Jeune Peinture and was reproduced n several magazine. Finally Boltanski hope to see Berg again in Paris.

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10 Feb LE COIN DE L’OEIL DU PASSANT. 1966. ONE OF LE GAC’S FIRST EVER SOLO SHOWS WITH BOLTANSKI’S INSTALLATION NOTES.

Posted at 10:13h in EARLY GALLERY ACTIVITY - 1968

Paris: Gallery du Tournesol, 1966
8 x 18cm, 12pp (but opens out to 16 x 54cm, printed recto only). Announcement leaflet for a very early Jean Le Gac show at Boltanski's gallery where he showed mostly paintings. VG+. Very scarce.
JOINT WITH:
15 x 21cm, 2pp hand written note and diagrams which appears to have notes about the installation of the show by Boltanski.

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02 Feb CARBON COPY OF LETTER FROM M. BERG TO BOLTANSKI. 2 FEBRUARY 1966.

Posted at 15:45h in LETTERS AND DOCUMENTS

Copenhague: Berg, 2 Fevrier 1966
21 x 15cm, 4pp but only one side with text. Original carbon copy of a typed and signed letter from M Berg noting that the painting had successfully arrived and including a cheque for 600 FR. Berg also asks for photographs of paintings by Romero in advance of visiting Paris in person.

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15 Jan POTH (POOR OLD TIRED HORSE) NR 18. AD REINHARDT ISSUE DESIGNED BY BRIDGET RILEY. 1966.

Posted at 16:07h in Poor Old Tired Horse + Broadsides

Ardgay, Ross-shire; Wild Hawthorne Press, 1966
26 x 21cm, 8pp. The eighteenth number of Finlay’s poetry publication - this number dedicated to Ad Reinhardt (using his writings and script) and designed by Bridget Riley. The recurrent motif is a large black 0. VG+ condition.

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03 Jan 4 SAILS (RED). 1966.

Posted at 20:33h in Artist's Postcards

London: Chelsea School of Art, 1966
16.4 x 15.9cm. One of Finlay’s earliest paper sculptures - a fold out card publication jointly designed with and printed by Ed Wright at Chelsea School of Art. This is the red version: black print on red card. VG condition. Murray 5.3.
There were three variations - blue, yellow and red each printed black. These are now every hard to find.

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02 Jan 4 SAILS (YELLOW). 1966.

Posted at 20:32h in Artist's Postcards

London: Chelsea School of Art, 1966
16.4 x 15.9cm. One of Finlay’s earliest paper sculptures - a fold out card publication jointly designed with and printed by Ed Wright at Chelsea School of Art. This is the yellow version: black print on yellow card. VG condition. Murray 5.3.
There were three variations - blue, yellow and red each printed black. These are now every hard to find.

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01 Jan 4 SAILS (BLUE). 1966.

Posted at 20:32h in Artist's Postcards

London: Chelsea School of Art, 1966
16.4 x 15.9cm. One of Finlay’s earliest paper sculptures - a fold out card publication jointly designed with and printed by Ed Wright at Chelsea School of Art. This is the blue version: black print on blue card. VG condition. Murray 5.3.
There were three variations - blue, yellow and red each printed black. These are now every hard to find.

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17 Dec TYPED SIGNED LETTER FROM BOLTANSKI TO M. BERG. 17 DECEMBER 1965.

Posted at 08:52h in LETTERS AND DOCUMENTS

Paris: Galerie Tournesol, 1965
21 x 13.5cm, 2pp hand typed letter from Boltanski on Galerie du Tournesol letterhead paper to M. Berg explaining that the painting purchased by Berg has been sent to him and details on payment. Boltanski also says how much he is looking forward to meeting Berg in the new year.

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09 Dec CARBON COPY SIGNED LETTER FROM M. BERG TO BOLTANSKI. 9 DECEMBER 1965. WITH HANDWRITTEN NOTES.

Posted at 15:42h in LETTERS AND DOCUMENTS

Copenhague: Berg, 9 Decembre 1965
30 x 21cm, 2pp. Original carbon copy of a typed and signed letter from M Berg indicating he was interested in acquiring one of the paintings by Ramon however the images sent by Boltanski do not show the colours. He also notes he is coming to Paris and will meet Boltanski and look at works in person including a painting by Romero.
This letter has some notes in red ink.

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26 Nov JOSEPH BEUYS …IRGEND EIN STRANG… 1965. BEUYS FIRST GALLERY EXHIBITION/PERFORMANCE.

Posted at 12:59h in Joseph Beuys Cards 1960s, Joseph Beuys Postcards

Dusseldorf: Galerie Schmela, 1965
15 x 21cm, 4pp announcement card with a b/w image of Beuys pretending to be asleep on a lump of fat. This was the artist's first exhibition/performance in a private gallery and where he explained art to a "dead hare" by showing all of the 38 works (all listed here) to the corpse while miming the dead animal's movements. This is a VG+ example of a scarce early invite card.

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24 Nov TYPED SIGNED LETTER FROM BOLTANSKI TO M. BERG. 24 NOVEMBER 1965.

Posted at 18:49h in LETTERS AND DOCUMENTS

Paris: Galerie Tournesol, 1965
21 x 13.5cm, 2pp hand typed letter from Boltanski on Galerie du Tournesol letterhead paper to M. Berg replying to the latter's letter of 19 Nov 1965, discussing a painting that Berg was interested in buying. Boltanski claims in "the Possible Life of Christian Boltanski" that his father told his mother they had better open a gallery together to allow their son to learn how to be an artist. The Gallery sold only Jiddish art but clearly Boltanski's interest in the avant garde made the chosen artists a little more radical. The motivation for starting the gallery is probably not true (like many of Boltanski's tales it is more than likely deliberately false) but he ran the venture from 1965 until 1968.
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