21 x 15cm, 16pp (self cover), Single number from a series of "Art Activist" publications here written as a "report" from Dyke Action Machine! (DAM) of their activities. Colour iamges throughout. VG+.

25 x 17.5cm, 32pp (self cover). Black on white paper. The final number of this artist's journal (4 = ALL) and artist's book published by Daniel Spoerri and Kichka Baticheff during the period 1966 to 1967 under the title of the "Nothing Else Review" (a joke based on Higgin's Something Else Press).

Issue number 4 has only the text "Conserves de magie a la noix 25 objets archeologique de et par Daniel Spoerri" - a series of found or made small sculptures utilising objects on the island of Symi where Spoerri decided to live for a year as simply as possible. B/w images of the works throughout alongside an artist's text for each. Near fine example.

25 x 17.5cm, 32pp (self cover). Black on white paper. The third number of this artist's journal (4 = ALL) and artist's book published by Daniel Spoerri and Kichka Baticheff during the period 1966 to 1967 under the title of the "Nothing Else Review" (a joke based on Higgin's Something Else Press).

Issue number 3 includes original and reprinted writings by Michel Foucault, Mircea Eliande, Fiodor Dostoiewsky, Micchel Volonakis, Levi-Strauss, H.G. Wells, Joyce M. Stubbes, Ali Bab and others. Spoerri includes a long essay - Dissertation sur le ou la Keftedes - which includes a recipe for "Simi Christmas Pudding" which may well be delicious.

A near fine example.

Nrs 5, 7, 10, 14, 15/16, 17, 18, 19/20 and the hors series 15/16 bis, 15/16 ter, 15/16 quatre double numbers. A total of sixteen numbers, including five double numbers, all approx. 20 x 15cm, pagination varies. Original covers with 'pataphysique emblem.

The longest running (in terms of timespan) of the various general reviews published by the college - with several of the journals being special issues considering individual topics such as the writings of Rachile, Jean Ferry, Jarry (of course). Nr 17 is themed around Queneau's Oulipou movement. The special nr 15/16 bis, ter and quater double numbers were unusual items for the college to publish as usually the journals were strictly limited to 28 numbers before a new journal title and series are initiated. Nr 7, 10 and 18 here have the original publisher's bands extant (often lost). Scarce especially in deluxe formats -and nr 14, 18 here are from the deluxe numbered editions with nr 14 also having laid in an original signed and numbered 16.5 x 12.5cm, b/w wood-cut by Thieri Foulc making that particular number a little bit extra-special.

A large collection of 51 separate numbers from the artist's publication issued by the fashion house.

Uniformly 42 x 30cm, 8pp (except #43 which is two separate folded sheets – both 42 x 30cm, 2pp)

The numbers included in this extensive collection are:

#03: Douglas Gordon: November 1997; i

#05: Annette Messager: April 1998;

#06: Lawrence Weiner: May 1998;

#08: Itsuko Hasegawa & Dan Graham: September 1998;

#10: Claude Lévêque: January 1999;

#11: Hans-Peter Feldmann: March 1999;

#12: Harmony Korine: May 1999;

#13: Antoinette Ohannessian and Toni Negri: June 1999;

#14: Louise Bourgeois: September 1999;

Special issue: Frédéric Bruly Bouabré: January 2000;

#15: Roni Horn: February 2000;

#16: Richard Billingham: May 2000;

#17: John Giorno & Ugo Rondinone: June 2000;

#18: Rosemarie Trockel: July 2000;

#19: Cedric Price: November 2000;

#20: Ken Lum & Chen Zhen: February 2001;

#22: Gilbert & George: September 2001;

#23: Thomas Hirschhorn: October 2001;

#24: Yona Friedman: December 2001;

#25: Matthew Barney: June 2002;

#26: Christian Boltanski: June 2002;

#27: Hanne Darboven: June 2002;

#29: Edouard Glissant: November 2002

#30: Claude Closky: June 2003;

#31: Yoko Ono: October 2003;

32: Paul-Armand Gette: January 2004;

Special issue: Hors serie (32 bis): Agnes B. / Hans Ulrich Obrist Interview: April 2004;

#33: Philippe Parreno: April 2004;

#34: Michel Foucault: September 2004;

#35: Yona Friedman: October 2004;

Special issue: Nancy Spero: April 2005;

#36: Tacita Dean: May 2004;

#37: Ed Ruscha: June 2005;

#39: Richard Prince: April 2006;

#40: Damien Hirst: September 2006

#42: Tobias Buche: February 2007;

#43: Hreinn Fridfinnsson: July 2007;

#44: Hugues Reip & Melanie Counsell: July 2008;

#46: Carlos Cruz-Diez: December 2008;

#47: Koo Jeong-A: March 2009;

Special issue: Stephane Hessel & Pascal Lemaitre– April 2010;

#50: Christian Boltanski – May 2010;

Special issue: P. Reimer - January 2011;

#54: Pierre Henry – June 2013;

#56: Robert Barry: September 2015;

#57: Agnes Varda: September 2015;

#58: Gustav Metzger: February 2016;

#59: Raymond Pettibon and Marcel Dzama: November 2016

#60: John Giorno: July 2017

#62: Pierre Alechinsky: 2018

#63: Claude Leveque: 2020

All in VG+.

29 x 23cm, 4pp. The French language issue (simultaneously with the Italian) of this single number from the primary Futurist journal as published by Marinetti with (as usual) a single long essay on a relevant subject (here mechanical art). As with the previous number of the journal - the back page has a full page b/w photograph of Marinetti being presented with an extremely large (actually giant)  Italian flag. Some typical browning, else a very good + example of this very important document.

21 x 17cm, 76pp plus covers. Various coloured paper stock employed. The first (and perhaps only number) of this final manifestation of the German Spur Group which by now had diminished to joint public activities by Helmut Sturm and Heimrad Prem. The works show the roots of the German breakaway from the Situationists displaying COBRA-esque, expressionist flourishes in the main - which is hardly surprising given Cobra's coming together with Debord et al. in the '50s to form the core of the later political sect. By 1975 this remaining German duo had formed the Kollektiv Herzogstrasse grouping and published this journal with text and original lithographic contributions by Backmayer, Backmayer, Bartsht, Busse, Diri, Hermann, Niggl, Prem, Sturm, Saub, Strauch and Wald. Near fine. Exceptionally rare and often unknown even by collectors of SPUR/Situationism. This is the final primary document from end of a long evolution of radical / politicised art and an essential document for those fascinated by the twists and turns of a few people passing in and out of history and changing the world just a little bit here and there for better or worse.