Munich: Boltanski/Haus der Kunst, 1997
Medium size green felt hat in the Bavarian traditional style (also known as Tyrolean) with two metal and enamel badges pinned on and bird feathers in a metal clasp in the braided cord headband.
This item was "found" in the Munich Underground Lost & Found offices and appropriated by Boltanski as a readymade artwork - a strategy which Boltanski had used before in various cities including Glasgow in 1993. Two cardboard labels (commonly used in Lost & Found Offices) are stamped with the title VERLOREN IN MUNCHEN (Lost in Munich) and one is signed by Boltanski in ink as the certificate for the work. The hat had been used in the exhibition prior being offered to sale where other "lost" items were exhibited.
In VG+ condition given that the item was previously lost on the underground. Unique within an unknown number of items sold as works after the exhibition.

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Milano: Galleria Paolo Vitolo, 1997 10.5 x 15cm, 2pp announcement card with a typographic design - a group show with contributions by Arnulf Rainer, Boltanski, Gina Pane, Ketty La Rocca, Urs Luthi, Cindy Sherman, Jan Vercruysse, Cesare Viel, Orla Barry and Rebecca Bournigault. A mailed example with address label, stamps and frankings. ...

Grand-Hornu: Grand-Hornu Images, 1997
13 x 19.7cm, 1pp invitation card to the opening of the title exhibition. Typographic only - black on brown. VG+ although some light (sun) damage along the bottom of the card.

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Grand-Hornu: Grand-Hornu Images, 1997
19.5 x 12.7cm, 16pp (single folded sheet that opens up to 25.4 x 78cm. Artist's book that was circulated during the exhibition which reproduces the portrait page of children's passport documents (Dutch and French) these appear to be wartime documents.
Still extant is the publisher's wrap around bandeau which reproduced details of the exhibition on it although a mistake in the printing has meant that a hand addition to the times has been made. VG+. Very scarce.

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Tilburg: De Pont, 1997
42 x 30cm, 16pp (self cover). Artist designed newspaper with many images of eyes in closeup. Each image seems haunting or even accusing.
Unopened in original outer wrapper Newspaper in near mint (folded) condition and bandeau with slight paper loss on unprinted right hand side. Now scarce.

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Munchen: Hessisches Landsmuseum/Gina Kehayoff Verlage, 1996
25.2 x 21cm, 48pp plus card covers. Artist's book consisting of 40 b/w photographic images of death. Published in conjunction with a museum exhibition, of the same name. Minimal text in German. VG+ although minor rust on staples.

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Munchen: Gina Kehayoff Verlage, 1996
21 x 14cm, 64pp plus card covers. Artist's book consisting of 62 b/w photographic images of 31 people showing both younger and older selves opposite each other on each two pages. Minimal text in German. VG+.

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Munchen: Galerie Bernd Kluser, 1996 21 x 10.5, 4pp announcement card printed on transparent paper. The front of the card is an appropriated vintage image of two middle age people on a fairground slide. Gluck auf is apparently a regional greeting in parts of Germany (originally used by miners). VG+. ...

Bremen: Neues Museum Weserberg, 1996 15 x 10.5cm, 2pp announcement card for an exhibition of Boltanski's artist's books from between 1969 and 1995 from the collection of Guy Schraenen. One b/w page from a book reproduced on the front, verso museum details. VG+. ...

Paris: Yvon Lambert 1996
41 x 30.6cm, outer folder eight 40 x 30cm, 1pp b/w reproductions of appropriated photographs printed on semi-opaque paper and with eight transparent 40 x 30cm overlays with text printed in red.
The short titles associated with each image seem incongruous - an image of a young woman in swimming costume with a blanket over her head is noted as "La Belle Hotesse" (the Beautiful Hostess), a priest with a baby is denoted as Intense Souffrance (intense suffering). However the overlays can be moved around and placed over different images - and the titles given new context. Or more accurately the photographs are given new associations with any new text - which one may suggest is the point of the work: an anonymous image is read by a viewer using conscious and unconscious visual cues but when a language descriptor is added new associations are formed and the semantic context changed. Concessions are made.
This is one of only 50 signed and numbered examples on a colophon sheet. VG+

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