Paris: La Hune, November 1992
33.5 x 24 x 5.5cm, one part archival box with pasted on title label, content of eight folders containing original & reproduced photographs, maps, sketches, photographs, transcripts, and documents relating to the occupants of a destroyed house (bombed by the Allies on 3 February 1945 which killed most of the residents).
For an exhibition in Berlin entitled "Die Endlichkeit der Freiheit", Boltanski initially placed "a series of 12 black and white plaques each mounted on the facing walls, storey by storey, indicating the family name, profession, and period of residency of each tenant who had lived in the bombed out apartments."
At the same time in East Berlin, Boltanski exhibited a series of vitrines with archival documentation of the various families and the building (the research here should be credited to art student, Christiane Büchner and Andreas Fischer). Interestingly during the research Boltanski and his assistants discovered that prior to 1942, many of this obliterated building's inhabitants had been Jews, until they were evicted, and deported to concentration camps.
The folders have around 150 photographs, photocopies, offset and stencil reproductions, postcards, maps, and other facsimile items - the eight folders are:

Folder 1: La Maison Manquante/The Missing House 15, Grosse-Hamburger-Strasse, Sept. 1990. A text in French faces an original colour photograph of the installation with tissue guard.
Folder 2: Autour de la Maison Manquante
Folder 3: Ceux Qui Vivaient au 15, Grosse-Hamburger-Strasse, de 1930 à 1945
Folder 4: Madame Kalies
Folder 5: Kurt Porteset
Folder 6: Monsieur Schnapp
Folder 7: Le 3 Février 1945
Folder 8: Le Cahier de Quittances

This is one of the most difficult to find of later artist's books by Boltanski and certainly one of his most complex productions, the level of research and the requirement to recreate original documents in high quality reproduction must have taken a lot of effort.
As usual there is no moral commentary on the events or people included in the survey of the building, The fact that some residents were Jews is ignored other than mentioned although readers may feel some irony present here. The bomb was neutral in its effect - devastating but uncaring of past history or status. It is a simple record of what happened - and an imperfect record as all historical reconstitution must be
This is one of 100 signed and numbered copies (aside from 20 HC copies) on a label on the inside front cover of the archival box and is in VG+ condition, complete although the two original thick rubber bands that close the folder are missing. A wonderful production.

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Saint-Gall: Stiftsbibliothek, n.d. (1992)
10.5 x15cm, 8pp (original postcards bound in) plus front and back cards. Artist's book consisting of postcards showing installation views of a small exhibition of books by Boltanski from a library exhibition in the abbey of Saint-Gall. The show consisted of a single vitrine it seems. The images do not really allow one to see the books but the library is clearly impressive. The installation was organised by Hans Ulrich Obrist but he claims elsewhere his first curated exhibition was one year later (which also included Boltanski).
Reference: Calle Boltanski Artist's Books Page 76.

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Koln:: Walther Konig, 1992
25 x 19.5cm, 212pp plus yellow stamped gray paper boards. The first extensive catalogue raisonee of Boltanski's artist's books, mail art, ephemera and editioned works from the period 1966 - 1982. Edited by Jennifer Flay it covers 80 different items and is illustrated in b/w throughout. Text in German, French and English.
This copy is in VG+ condition and is signed by Boltanski on an end page. VG+.

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London: Serpentine Gallery, 1992 Three different artist's postcards (10.5 x 15cm, 2pp) each with a pair of images that Boltanski found in copies of the Nazi SIGNAL magazine. He pairs up images of cultural life (a ballet dancer, a model) and nature (a bee) alongside images of soldiers and weapons. This relates to other work where images of victims and murderers are mixed together where no-one can tell which is which. The normalcy of daily life could be found in Nazi Germany as much as less guilty societies (and one should remember Boltanski's jewish heritage).
Take Me (I'm Yours) was the first of a number of such exhibitions which Boltanski had a hand in initiating alongside Hans Ulrich Obrist. Members of the public could take the artworks away. However these cards were only found in the deluxe catalogue for the show.
Each of these cards are signed in pencil by Boltanski on the back.

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Munich: Galerie Bernd Kluser, 1992
22 x 15.5 x 3cm printed slipcase content of two volumes. Uniformly 22 x 15cm, 92pp and 132pp respectively plus boards and printed dustjacket.
The exhibition catalogue of a group show based on the artists' reaction to the 1926 discovery of the frozen corpse of a leopard at 19,000 feet on Kilimanjaro - a height above where one might not expect such an animal to be found. Hemingway mentions this find in his book "The snows of Kilimanjaro" it being so unusual. The exhibition was based on a number of prints commissioned from each artist by the gallery and issued in two portfolios an edition of 60 copies.
Boltanski's print in portfolio II is a collaged image of a Jewish school from Berlin 1939 - the original photograph overlaid with crumpled transparent paper to slightly mask the image and with packing tape at the corners before being rephotographed. The final print is printed on transparent paper which adds to the feeling of heritage or of coming from a past time - something that mimics some perceptions of the found body of the dead cat.
Other artists found in the two portfolios (volume I and volume II) were Georg Baselitz, Per Kirkeby, Enzo Cucchi, Juliao Sarmento, Mimmo Paladino, Axel Katz, James Brown, Nicholas Africano, A.R. Penck and Donald Baechler; Volume Two features Jannis Kounellis, Maichael Byron, Rebecca Horn, Martin Disler, A.&P. Poirier, Stephan Blankenhol, Jan Fabre, and Tony Cragg as well as Boltanski.
All of the prints are reproduced in colour in the first of the two volumes in this catalogue.
The second volume here displays the various works shown in the group exhibition - Boltanski's was "Les Images Honteuses 'El Caso'" displayed in 3 vitrines and on the wall in a be-curtained image. El Caso includes images of murders and other similar tragedies - the curtain being a sort of removable censorship forcing the viewer to decide whether to look or not.
Short essay text in Enlgish and German by Bernd Kulser. VG+ although a few marks on the slipcase.
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12.5 x 15.5cm, silver gelatine photographic print from 1982 displaying a Boltanski work (painting on plaster - 200 x 300cm). Handwritten notes by an unknown person on reverse. ...

Berlin: Berliner Kunstlerprogramme des DAAD fur das Heimatmsuem Berlin- Mitte, 1991
16.7 x 12cm, 32pp (self cover). Museum exhibition catalogue for the major project where Botlanski and a team discovered all that they could find about a "missing house" ie a house that was demolished by bombs in the second world war. The project was meant to be temporary but after the closing of the international exhibition that it was created for, the enthusiasm of the local population led Boltanski to leave the work in situ although part of the original exhibition in the museum had to be taken down.
The house at Grosse Hamberger Strasse 15/16 was also the subject of the ornate and complex artist's book La Maison Manquante 1992 (one of the most difficult to find books by the artist).
This brochure was written for visitors to the space and details the story of the occupants (including found photographs and documents) in an open and accessible manner. This example is in VG+ condition although an adhesive barcode is found on the inside back cover.

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Houston: Contemporary Arts Museum, 1991
20.5 x 16 x 2.6cm, two part printed cardboard box content of a 17.7 x 12.5cm, 14pp (recto only) leporello booklet which has 14 images of the artist's cut out and cheaply made figures. One of only 500 copies released. Similar to the artist's grotesques where assemblage sculptures were made from household objects, these figures are mostly dancing skeletons in white against a flat black background.
There is a colophon card in black on brown also inserted into the box. VG+. Scarce.

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Pittsberg: Carnegie Museum of Art, 1991
21 x 14cm, 40pp. Original card covers. Artist's book listing in alphabetical order all of the participants of the Carnegie International from 1896 to 1991 (Boltanski took part in 1991 and his name is included), VG+
JOINT AS ISSUED:
17.5 x 13cm, original b/w silver gelatine print showing Boltanski's installation in the Carnegie International which is signed on the back.
One of only 100 such books and photographs as a deluxe edition. Both VG++.

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Paris, Jean Daviot et Bernard Marcadé, automne 1991, 35 x 30 cm (opens out to 70 x 60cm), 2pp. A single number of this artist's publications which is dedicated to a single artist - here, obviously, Boltanski who reproduces two pages from the Spanish "detective" magazine "El Caso Criminal".
This is one of 200 signed and numbered examples aside from the larger run of the magazine. Folded as issued else VG+.

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Frankfurt Am Main: Portikus, 1991
15 x 10.5cm, 2pp announcement card for a solo show of installation works. One such work in b/w on the front, verso gallery details. VG+.

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New York City: Marian Goodman Gallery 1991
20.3 × 22.8 × 5cm two part tin box and two photographs glued and mounted on the inside lid and bottom of the box. The bottom image is of a Jewish school from Hamberg in 1938 taken just before the war began. Obviously the crimes of the National Socialists led to the deliberate massacre of Jewish people throughout Germany. The photograph in the top of the box is an enlarged detail from the photograph of a girl. One does not know her fate - it could have been very tragic and more than likely so.The photograph on the lid is lined with lightly creased and glued paper - creating a frame that is somewhat like a shroud.BR> There was a serial edition of 40 - with each box in the edition unique with a different face enlarged on the top. Signed and numbered on a label below the class photograph by Boltanski. The box is deliberately tarnished and the lid has a lot of oxidation which Boltanski deliberately encouraged by "watering" his stocks of the boxes which he kept for future use in such works.

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