Search Results: Titles starting with I from Sims Reed Rare Books

Milan.: Edizioni Futuriste di 'Poesia'., 1912.. Original publisher's red printed wrappers.. 8vo. (202 x 144 mm).. First edition of the second collective anthology of Futurist poetry.Featuring Libero Altomare, Paolo Buzzi, Giuseppe Carrieri, Enrico Cavacchioli, Auro D’Alba, Luciano Folgore, Corrado Govoni, F.T.Marinetti, Armando Mazza and Aldo Palazzeschi. The second collective anthology of the Futurist movement after the 1909 'Enquête internationale sur les vers libre et manifeste du futurisme par F. T. Marinetti'.

(Berlin).. 2 sheets of tissue. (c. 90 x 155 mm when folded).. 1 long sheet of pink tissue paper with manuscript text by James Lee Byars in white recto, the sheet has been folded 8 times and is housed within a piece of black tissue. A beautiful example of a James Lee Byars' unique invitation art object executed in white pencil on pink tissue paper.The invitation reads as follows: 'INVITATION TO THE EXHIBITION OF JAMES LEE AND BB WATCHING THE AMERHAUS FROM 11/11 FROM 1 TO 2 PM.' 'BB' refers to Byars' girlfriend Birgit Grögel.James Lee Byars (1932 - 1997), an artist with important Conceptual and Fluxus associations, was known to refer to himself as the 'World's Most Famous Unknown Artist'. Byars is often grouped with Duchamp, Broodthaers and Beuys in that his work is often in opposition to the idea of art as object although Byars maintained - with typical alliterative flair - his most important influences were 'Einstein, Gertrude Stein and Wittgenstein' (later 'Einstein, Gertrude Stein,… Read More

Hannover - Berlin - Bremen.: Werbezentrale fur totalkunst / banalismus / extemporismus., c. 1965.. Small flyer (300 x 210 mm).. Printed single side on pink stock. An early piece of Ulrichs ephemera, declaring God firmly on the side of the 'Total Artist'.

London.: {ublished by J. Braund., 1858.. Modern calf-backed marbled boards, smooth spine with elaborate decorative gilt tooling and title.. Folio. (45 x 315 mm).. Elaborate engraved title page, description of plates (2 leaves), 48 engraved plates. The list of subscribers is headed by Prince Albert.

Paris.: La Galerie Prismes., 1961.. Folded card.. 8vo. (192 x 172 mm).. Invitation to the opening of the exhibition Ilse Getz with photographs by Martin Rickli at La Galerie Prismes on the 17th of November 1961. Text by J.C. de Feugas. Several fold creases.

Kassel.: Dokumenta IX., 1993.. Original publisher's grey paper wrappers, white label to front cover with titles in black.. 4to. (216 x 280 mm).. 67 mimeograph pages followed by 12 pages of colour photographs printed recto only (of which 3 are fold-out pages). The catalogue was published to accompany the installation at Dokumenta IX Kassel, 1992. From the edition limited to 500 numbered copies.

Paris., (c.1815).. Later burgundy crushed morocco-backed marbled boards, banded spine in six compartments with urn tools and titles gilt, marbled endpapers.. Folio. (428 x 290 mm).. The suite of 33 hand coloured engraved plates by Gatine after Horace Vernet and Lante, numbered 1 - 33 at upper right, with title above and description beneath, each with large margins, this copy with an additional variant of plate no. 22, titled 'Chapeau de paille. Robe à deux étages de remplis'; sheet size: c.420 x 278 mm. The rare complete suite of hand-coloured engravings of dandies ('Incroyables') and their female counterparts ('Merveilleuses').'George-Jacques Gatine was the leading costume engraver of his time. For many years he supplied plates for the 'Journal des Dames'. He engraved the 115 designs which make up 'Le bon genre' of 1817... He also made hundreds of plates of regional and Parisian dress. None of these remotely approaches Incroyables et Merveilleuses in excellence, for he never again had anyone… Read More

(Milan).: (Nava web ... fro Italiana di Comunicazione)., (1989).. Original publisher's orange printed wrappers stapled as issued, titles to front cover in black with credits to rear cover, front cover with flap with illustration to inner side, final page of contents to inner side of rear wrapper.. 8vo. (209 x 149 mm).. Leaf with title with artist's name, verso and following leaves with 12 repeated pictorial spreads with explanatory text in six sections divided by language, two spreads per language (English, Italian, German, French, Spanish and Japanese), each with orange border to the right-hand outer margin of the first spread with language in black and each making use of the key image printed to the inner side of the front wrapper; printed text in various languages throughout with monochrome photographic reproductions of images by Santi Caleca, images and text with key numbers in orange. Rudolf Stingel's very scarce multilingual artist book / 'how to' manual detailing the creation of one of his… Read More

Cologne., 1970.. Original publisher's printed illustrated wrappers.. 4to. (209 x 291 mm).. Monochrome illustrations throughout. Single issue of Interfunktionen, from the edition limited to 1000 copies. Inextricably linked with the Joseph Beuys-era Kunstakademie Düsseldorf and the LIDL Akademie, Interfunktionen published theory, criticism and artists’ projects and facilitated a brand of European-American relations in art that had not been previously explored.This issue contains contributions from Dennis Oppenheim, Robert Smithson, Jan Dibbets, Gilbert & George, John Baldessari, Hamish Fulton and Tomas Schmit.

Brussels.: Galerie MTL., 1971.. Publisher's wrappers. A fine copy.. 8vo. (135 x 108 mm).. Martin Maloney (1938-2003) has been largely forgotten and omitted from art history; the American artist is all but invisible in institutional collections of the conceptual art he participated in from an early stage.For him, the gallery’s symbolic ‘white walls’ needed to be fought, resisted and shown for what they were. In 1971, he locked himself in the confines of the MTL gallery in Brussels for five days and nights. His solitary act and refusal to allow the gallery space its role in visual presentation was the ‘exhibition’. This small publication features the texts he wrote during his stay in the gallery and remains the only material trace.

Paris.: Librairie de l'Art Ancien et Moderne., c.1900.. Loose as issued in original publisher's turquoise cloth portfolio with flaps, elaborate gilt decoration and title to front board, interior lined with gilt decorative paper.. Oblong folio. (470 x 330 mm).. Half-title with copy right verso, elaborate decorative colour title with explanatory note verso, two leaves with 'Table des Planches' in red and blue and 60 facsimiles of Rémon's watercolours. An excellent copy of Georges Rémon's pictorial work on 'Intérieurs Modernes'.'Les planches de cet ouvrage ont été exécutés en facsimile d'aquarelle par Mm. Fortier-Marotte et imprimées sur papier fabriqué spécialement par Mm. Breto & Cie.' (Explanatory note to title verso).Georges Rémon originally worked in his father's firm as an 'architecte decorateur.' Later he became the Director of L'Ecole des Arts Appliques de la Ville de Paris. He was a fluent practitioner of French XVIII & XVIIIth century style, but this extraordinary suite of… Read More

Wangen im Allgäu., 1985.. Single sheet, folded (210 x 148 mm).. The invitation or 'Kunst + Politik' signed by Beuys and Ende and with a small drawing by Beuys. On the 10th of February 1985, the Freie Volksschule Agental invited a dialogue between the artist Joseph Beuys and writer Michael Ende on the subject of art and politics. The published invitation, designed as a folded double sheet consists of excerpts of conversations between the two participants and short biographies.This invitation is signed along the lower edge of the front with black felt pen ‘Joseph Beuys’ and lower right with gold coloured felt pen ‘Michael Ende’. Additionally Beuys has added a small felt pen drawing of a ladder.

Brussels.: Galerie St Laurent., 1964.. Single folded sheet. (252 x 338 mm).. Printed text in black and orange recto and verso on a page from a magazine, the text printed in landscape format over the page with printing in portrait format. The very scarce invitation / poster / announcement for Marcel Broodthaers' first solo exhibition at Brussels' Galerie St Laurent in 1964.Broodthaers' exhibition at the Galerie St Laurent, rue Duquesnoy in Brussels was from 10th to 25th April, 1964; the vernissage for the exhibition was held on the 10th.Each example of this announcement / invitation, printed using orange and black inks for the letterpress text over the page of a magazine, is necessarily unique. The present example features an advertisement for snake-skin shoes recto and the 'Miss Chantelle' girdle verso. Broodthaers' text is crucial and illuminating in regard to his transformation from Surrealist-allied poet to artist.'Moi aussi, je me suis demandé si je ne pouvais pas vendre quelque chose et… Read More

(Paris).: Le Comité du Bal des Quatr'z'Arts., 1893.. Single sheet of card. (138 x 320 mm).. Lithograph illustration in bistre by Jules Chéret above printed letterpress text in black (see below). A scarce ephemeral illustrated invitation to the second Bal des Quatr'z'Arts held at the Moulin-Rouge in 1893.Held on Feburary 9th, the 'Bal Costumé' began at midnight and continued until 5 o'clock. As the invitation, in an effort to encourage original and interesting costume, states: 'Le costume est de rigueur, la blouse, l'habit, le moine et le domino noir sont interdits'.The invitation, with the lithograph by Jules Chéret, features a stamped number (no. 2621, suggesting a large number of guests) and the owner's name 'Monsieur [printed] Delfau', written in the appropriate space in black ink. The invitation also bears the stamp of the 'Ecole des Beaux-Arts / Atelier Laloux'.

(Paris)., 1893.. Single sheet. (355 x 178 mm).. Illustration by Henri Somm with pictorial and printed text on pink paper, perforations at left. A very scarce ephemeral invitation to the 1893 Bal des Modèles at the Moulin Rouge.The pictorial text indicates that the Bal des Modèles was organised by Charles de Sivry and featured 'Lutteuses, danses orientales, tableaux vivants, fanfares, fantaisistes des ateliers Parisiens et Montmatrois'. As the text, now printed, also indicated: 'Le costume est de rigueur, l'habit noir, le paredessus retourné, la blouse et la casquette, ainsi que le nu, seront imiptoyablement refusés'.The invitation appears not to have been used as it bears no owner's name; in excellent condition, the sheet has one central fold.

London.: Situation., 1972.. Single sheet of card. (178 x 115 mm).. Printed text recto only in blue ink. The scarce early invitation for the Gilbert & George exhibition 'It Takes a Boy to Understand a Boy's Point of View'.'It Takes a Boy to Understand a Boy's Point of View' was held at Situation Gallery, Horse Shoe Yard, Brooke Street, London W1 from November 20th - December 20th, 1972.'I think we wanted to renew ourselves. We always wanted to be baby artists. Just as making the Naked Shit Pictures made us into different people. Someone said it looked as if we were being reborn in those pictures.' (George discussing 'It Takes a Boy to Understand a Boy's Point of View' with Wolf Jahn in 2007).

Moscow.: Gosudarstvennoe Izdatel'stvo., 1930.. Original publisher's printed boards with a typographical design in blue, black and white by Aleksandr Rodchenko.. 8vo.. From the edition limited to 3,000 copies, this copy with an inscription to first leaf.

Cologne.: verlag konstantin post., 1981.. Original publisher's cream patterned leather by Hunke & Schröder, front and rear covers ruled in blind and with titles in blind to covers and spine, additional crystal paper jacket with rules and titles in black and biographical details of the contributors to rear flap, card slipcase.. Square 4to. (276 x 276 mm).. Leaf with printed title recto and monochrome zincograph illustration verso with printed text on following recto, the remainder of the book composed as 80 double-page spreads with a monochrome zincograph at left and a poetic aphorism at right (see below), final leaf with justification; printed text in German in lowercase throughout. An excellent presentation copy of the scarce deluxe edition of identitäten. From the edition limited to 333 numbered copies on Hahnemühle büttenkarton signed by both Gomringer and Prager in pencil to the justification, with this one of the first 13 copies bound in leather ('13 exemplare in leder gebunden'), and… Read More

Berlin-Zehlendorf.: Wolfgang Fietkau Verlag., 1969.. Original publisher's printed wrappers with titles to front and rear covers in black and green.. Square 8vo. (160 x 140 mm).. Initial and terminal leaves of green paper. This copy signed by Harig.Published as number 15 in Wolfgang Fietkau's 'Schritte für moderne und avantgardistische literatur' series.