Docking: Coracle, n.d. (1992)
14.5 x 10.5cm, 8pp plus stiff burgundy printed wrappers. A visual poem written by Simon Cutts in praise (and a little critical en passant) of his friend Ian Hamilton Finlay. Inside the book (which looks like a passport) there are 3 pages - the first is I and has a black rectangle of card pasted to the page, the next page has the H and has empty spaces where similar rectangles might be pasted and the final page F has a black card shaped like a guillotine blade.
Not only referencing Finlay's interest in the French revolution - but also a slight hint at the poet's somewhat irascible nature (which moderated in his old age - by the time I met him he was a pussycat) in the darkness of the shapes and the sharpness of the final "blade". A rather nice little work in homage to the man. VG+.

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Little Sparta: Wild Hawthorn Press, 1989
11.6 x 7cm, 20pp plus card wrappers and printed dust jacket. Six drawings by Angela Lemaire are conjoined with Finlay's pithy proverbs.

"The wind is invisible/but we can see which way the trees blow"


This is one of 250 unsigned copies. VG+ but staples are rusty.

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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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Little Sparta: Wild Hawthorn Press, 1992
13.5 x 9.2cm, 4pp plus end papers and blue laid paper wrappers. The poem is as follows:

THE HAPPY CATASTROPHE
Be





falls.

and the explanation on the left "The happy catastrophe" - Friedrich Schlegel's characterisation of the French Revolution.
The word befalls is split as if part has dropped off or down but also is a physical reminder of a head falling from a body or the guillotine blade dropping down from above.
Slight former diagonal crease on cover but else VG.

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Little Sparta: Wild Hawthorn Press, n.d. (1995) 23 x 16.1cm, printed envelope content of two cards - one with a text printed black on cream from R.R. Palmer's "Twelve Who Ruled" regarding Saint-Just's way to the guillotine:

Saint-Just stood up in the first cart, head held high, his neck bare, a carnation in his buttonhole, his eyes cooly surveying the crowds that lined the street. The old Saint-Just was restored who said, 'I despise the dust that forms me and speaks to you.'"

The other card is unprinted and blood red.

Both cards have been cut on the diagonal to create guillotine blade shapes.
Finlay's admiration for the purity and lack of compromise of Saint-Just ir reflected in many of his works. This is another. VG+ in like envelope....

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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Little Sparta: Wild Hawthorn Press, 1992 14.7 x 10.4cm, 14pp concertina artist's card with five different finials (the small sculpture on top of a pillar), the first four of which are traditional (Ball, Vanburgh Ball, Acorn, Pineapple) and the final one is denoted as a Pineapple Grenade Finial (based on the throwing weapon). Drawings by Andrew Townsend. VG+. ...

Little Sparta: Wild Hawthorn Press, 1991
10.5 x 7.2cm, 12pp plus wrappers and printed dust jacket. Four "proverbs" by Finlay are illustrated with drawings by Kathleen Lindsley.

"The poor fisherman counts his diamonds" for instance depends on the drawing to explain the diamonds is a metaphor for silver-backed fish.
Very good condition apart from some minor rust on staples. Murrsay has this as 1992 but the book has 1991.

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Edinburgh, Scotland: Morning Star Publications, 1991
18 x 25.5cm printed publisher's envelope content of a 24 x 16.5cm, 4pp (top folding) folded card with a silkscreen image in green and black on beige with the poem:

pool
fall

pool
fall

pool
fall

rill

over an image of green ferns. A concrete poem which is denoted as a "proposal" by the Press and we have placed it in that category.
This is one of 250 signed and numbered copies from the collaborating artist Solveig Hill. VG+.

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Little Sparta: Wild Hawthorn Press, 1991
10.6 x 16cm, 48pp plus card covers with printed dust jacket. Artist's book with four folded over pages that have one text on the outside that reveals the second text when opened.

Neoclassical Thaumaturgy
opens to
The gods fly faster than sound.

A monostich is a one line poem. VG+.

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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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