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DAVID BELLINGHAM

David Bellingham lives and works in Glasgow. He is an artist who works in a number of different fields including drawing and painting, artist’s books, photography, film, installation and sound art. Much of his output is textual in form – early works being visual and concrete poetry but later introducing aspects of conceptual art.

 

Having worked early in his career with Ian Hamilton Finlay, David Harding, Pavel Buchler, Thomas Joshua Cooper and Rodger Palmer – Bellingham has created a wide range of works alongside the creation of a publishing house in WAX366 (named after the registration of his beloved car).
This archive of books, cards, editions and original works has been created by Paul Robertson since first meeting Bellingham in 2000. Robertson and Bellingham have worked together on a number of exhibitions and project including the highly significant TURNOUT project where Bellingham re-wrote the entire vote of the first ever Scottish Parliament election – a phenomenal effort on the part of the artist who had to draw over 2 million Xs to complete the project in Robertson’s Heart Gallery in Edinburgh in 2005.

 

There are nearly 150 items in this collection – many of the books are unique hand made items and some of the artist’s earliest works from 1997 onwards are included in the group.
The archive may be for sale both as a collection or as individual items – please email mail@unoriginalsins.com to discuss further.

BIRD-BOX. 1996.

Glasgow: Wax366, 1996
10 x 12.5cm, 2pp artist postcard with a b/w image of bird box (on a tripod stand) in a copse of trees, presumably able to be moved by the artist (John Bevid). VG+

A FIREWORK DISPLAY FROM ROSYTH ON 5TH NOVEMBER. 1996.

Glasgow: Wax366, n.d. (1996)
10 x 12.5cm, 2pp artist postcard with a b/w image of rocket fireworks in bottles labelled Revenge, Resolution, Renown and Repulse (all names of the Resolution class of nuclear ships which were retired from active service on28th August 1995 and replaced by the Vanguard class which carry Polaris missles). There is a handwritten note on the back "This is the fireworks piece I mentioned. If Tony (Blair) gets his way it will have to be updated. Best, David" in pencil. VG+

HSINIF. END OF YEAR. 1997. SIGNED BY BELLINGHAM.

Glasgow: Wax366, 1997
18 x 21cm, 2pp artist postcard with a black and white word FINISH but printed backwards - issued as an end of year gift by the artist. This example is signed on the back in black ink. Very slightly stained on the front else VG.

FOR THE NEOCONCEPTUALIST LAWRENCE WEINER IS A PRESOCRATIC. 1997.

Glasgow: Wax366, 1997
10.5 x 15cm, 2pp artist postcard with the text which amusingly compares the conceptual artist Weiner to a Pre-Socratic . VG+.

HOMAGE TO DOM SILVESTER HOUEDARD. 1997.

Glasgow: WAX336, 1997
10 x 11cm, 2pp. Artist's card with the text "typewriter" and "Scaffolding" repeated alternatively on the front. A reference to the typescripts of dsh. Early concrete poem by Bellingham. VG+.

CITRON – CITROEN. 1997. SIGNED BY THE ARTIST.

Brussels: Galerie Bortier 1997
10.5 x 10.5cm,2pp artist postcard with a full colour photograph of a bowl of lemons with toy cars (Citroens) added. A take on Broodthaers' original correspondence work (and also somewhat similar to an Ian Hamilton Finlay work - Citrones). This example is signed on the back by the artist in black ink. VG+.

SPEED CAMERA CAMOUFLAGE. 1997.

Glasgow: Wax366, 1997
10.5 x 15cm, 2pp artist postcard with a colour photograph of a British speed camera which has been painted in camouflage colours on the front. Jointly created with Jim Hamlyn. VG+.

MORSE 1837 – 1997.

Glasgow: WAX336, 1997
15 x 10.5cm, 2pp. Artist's card with a morse code message on the front and on the back the explanation that it reads: "Less dots, fewer dashes". Issued on the occasion of the H.M. Coastguard ceasing monitoring Morse transmissions on 31st December 1997. VG+.

LEAVES. 1998. HAND-TYPED UNIQUE BOOKWORK. SIGNED BY BELLINGHAM. VERY EARLY WORK.

Glasgow: Wax366, 1998
12 x 11.2cm, 4pp folded card to create a small book. On the front the word LEAVES has been hand-typed by Bellingham and inside the alphabet with the word TREE replacing the letter C.
Bellingham did an unspecified number of these works by hand - a very early concrete poetry work. Signed on the back in pencil. A very early work by the artist. VG+.

EN PAERE. 1998.

Glasgow: Wax366, 1998
15 x 10.5cm, 2pp artist postcard with a colour photograph of a light fitting where a pear is replacing the usual bulb. Photograph by Bellingham. VG+.

SOMETHING SIDE-BY-SIDE NOSOMETHING. 1998. HAND-TYPED UNIQUE BOOKWORK. SIGNED BY BELLINGHAM. VERY EARLY WORK.

Glasgow: Wax366, 1998
20 x 12.5cm, 4pp folded card to create a small book. On the front the word SOMETHING SIDE-BY-SIDE NOSOMETHING has been hand-typed by Bellingham and inside the text: NOSOMETHING SIDE-BY-SIDE SOMETHING to create a concrete poem.
Bellingham did an unspecified number of these works by hand - a very early work. Signed on the back in pencil. A very early work by the artist. VG+.

ECONOMY OF MEANS. 1998.

Glasgow: Wax366, 1998
10 x 17.2cm, 16pp (self cover). Stapled bound. Artist's book listing the methods by which the book was made one item at a time eg Sugar Paper, Toner, Folded, Stapled, and Trimmed, Very small limitation. VG+.

WHEN SPRING IS OUTSIDE AUTUMN IS UNDERNEATH. 1998.

Glasgow: Wax366, 1998
10.5 x 15cm, 2pp artist postcard with a colour image of tent made of reversible camouflage patterned fabric, on the reverse, the artist point out the patters were used for various German war machines. VG+

WELLINGTON MACINTOSH. 1998. SIGNED BY BELLINGHAM.

Glasgow: WAX366, 1998
20.5 x 42cm, 1pp offset green red -brown lithographic print with two drawings of the Wellington bomber plane - the second of which has been altered to look as if it is in the style of Rennie Macintosh in the configuration of the front windows. Signed bottom left by Bellingham. VG+.

READING HEGEL IN MARX ON ART. 1999.

Glasgow: Wax366, 1999
15 x 21cm, 2pp artist postcard with a colour image of Pavel Buchler reading a book on Marx and Engels upside down - a parallel to the idea that Marx (although we would argue Engels more) turned Hegel upside down. VG+

AHEAD. BEHIND. 1999.

Glasgow: WAX336, 1999
7.3 x 15cm, 2pp. Artist's postcard with AHEAD on one side, and BEHIND on the other printed with white text on gray. Early concrete poem. VG+.