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201 black & white illus on rectos only. [207] leaves. Thick oblong 4to (210 x 242 mm.), orig. cloth, title on spine. Berlin: Edition Block, 1978. The scarce artist's book documenting On Kawara's telegrams affirming "I am still alive"; this is one of 450 numbered copies from Serie A, all of which are bound in cloth and housed in a slipcase. Arranged chronologically and reproduced at their original size, the telegrams of this project were sent from December 1969 until 31 December 1977. We find messages sent to Dorothy and Herbert Vogel, Sol LeWitt, Teresa O'Connor, Germano Celant, Adriaan van Ravesteijn, Yutaka Matsuzawa, Tommaso Trini, Konrad Fischer, Hiroko Hiraoka, Klaus Honnef, Ken Friedman, Yvon Lambert, Zedenek Felix, René Denizot, Radoslav Putar, Jost Herbig, Paula Cooper, Johannes Gachnang, Rene Block, etc. In fine condition. Ownership inscription and embossed stamp of "Lars Hall" of Stockholm to first blank leaf recto. Colophon numbered "A69." ❧ A. Moeglin-Delcroix, Esthétique du…
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I Am Still Alive
by KAWARA, On
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I Am Still Alive
by KAWARA, On
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201 black & white illus on rectos only. [207] leaves. Thick oblong 4to (210 x 242 mm.), orig. cloth, title on spine. Berlin: Edition Block, 1978. The scarce artist's book documenting On Kawara's telegrams affirming "I am still alive"; this is one of 450 numbered copies from Serie A, all of which are bound in cloth and housed in a slipcase. Arranged chronologically and reproduced at their original size, the telegrams of this project were sent from December 1969 until 31 December 1977. We find messages sent to Dorothy and Herbert Vogel, Sol LeWitt, Teresa O'Connor, Germano Celant, Adriaan van Ravesteijn, Yutaka Matsuzawa, Tommaso Trini, Konrad Fischer, Hiroko Hiraoka, Klaus Honnef, Ken Friedman, Yvon Lambert, Zedenek Felix, René Denizot, Radoslav Putar, Jost Herbig, Paula Cooper, Johannes Gachnang, Rene Block, etc. In fine condition. Colophon numbered: "A5." ❧ A. Moeglin-Delcroix, Esthétique du Livre d'artiste: Introduction à l'art contemporain (2nd ed.: 2012), Bibliographie des Livres et…
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I Read
by KAWARA, On
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Color illus. throughout. Total of 3272 pp. 6 vols. Thick & large 4to, uniform beige cloth, titles on spines. Brussels: mfc-michèle didier, 2017. Scarce posthumous compendium of On Kawara's I Read series, one of 50 numbered copies (+ 10 H.C.). This work is unrecorded on WorldCat, but we located a copy at the Museum of Modern Art (NY). The Guggenheim's exhibition catalogue Silence (p. 109) describes the original work: "Like a number of Kawara's works, I Read is collected in common, office-supply, three-ring binders covered in blue-gray cloth. Inside, plastic sleeves each hold one or more newspaper clippings, glued onto one or both sides of a single sheet of lined notebook paper. Clippings are labeled, typically in red ballpoint pen, with the name and date of the newspaper from which they came; ink is also used to circle, underline, outline, or otherwise annotate particular sentences or paragraphs. Often cuttings that are too large for a single pager are folded over, so that unless removed from its…
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I Went, I Met, I Read, Journal: 1969
by KAWARA, On
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Many illus. Unpaginated. Four vols. Large 4to (280 x 215 mm.), orig. gray printed wrappers, titles on spines, housed in publisher's cardboard box with orig. printed labels on outside & inside. Köln: Buchhandlung Walther König, 1992. The scarce facsimile of On Kawara's I Went, I Met, I Read, and Journal series for the year 1969, published by Walther König on the occasion of Kawara's receiving the Kunstpreis Aachen. Kawara (29,771 days, i.e., 1932-2014) centered his artistic practice on the documentation of daily life: where he went, the people he met, and what he read. These notes were then compiled into three unique sets of binders. By the end of these pieces, I Met (1968-79) and I Went (1968-79) amounted to 4772 pages in 24 binders, and I Read (1966-95) totaled 3272 pages in 18 binders. Kawara's Journal filled 48 volumes, recorded from 1966 to 2013. The present volumes reproduce Kawara's life in 1969, which he spent in Buenos Aires, Sao Paulo, Rio de Janeiro, Brasilia, Manaus, Panama City,…
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INKYO 韻鏡 [in Chinese: Yunjing; Mirror of Rhymes]
by INKYO
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Ten columns per page, 20 characters per column. 52 folding leaves. Large 8vo (280 x 203 mm.), later wrappers, new stitching. [Japan]: colophon dated "1564." The earliest surviving edition of one of the "two priceless records of the earlier stages of the Chinese language."-Edwin G. Pulleyblank, "Qieyun and Yunjing: The Essential Foundation for Chinese Historical Linguistics" in Journal of the American Oriental Society, Vol. 118, No. 2 (April-June 1998), p. 213. The Yunjing, along with its predecessor, the Qieyun, were the standard pronunciation guides of the Early Middle Chinese and Middle Chinese periods. This is a very rare book, with only three (or, perhaps, two) other known copies. The original motivation to compile these guides to pronunciation was religious: Chinese monks turned their attention to the analysis of the sounds of their own language as recitations of chants depended for their effectiveness on correct pronunciation. The need for rhyming tables soon extended to scholarly and…
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INKYO 韻鏡 [in Chinese: Yunjing; Mirror of Rhymes]
by INKYO
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11 columns per page, 20 characters per column. Written in Chinese with manuscript Japanese reading marks. 52 folding leaves. Large 8vo (290 x 205 mm.), orig. wrappers (wrappers somewhat worn & rubbed), manuscript title-label on upper cover, new stitching. From the colophon: "Kyoto: Kotetsu shoin, 1608." A very rare movable type edition - not in WorldCat or NIJL - of one of the "two priceless records of the earlier stages of the Chinese language."-Edwin G. Pulleyblank, "Qieyun and Yunjing: The Essential Foundation for Chinese Historical Linguistics" in Journal of the American Oriental Society, Vol. 118, No. 2 (April-June 1998), p. 213. The Yunjing, along with its predecessor, the Qieyun, were the standard pronunciation guides of the Early Middle Chinese and Middle Chinese periods. The original motivation to compile these guides to pronunciation was religious: Chinese monks turned their attention to the analysis of the sounds of their own language as recitations of chants depended for their…
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INKYO 韻鏡 [in Chinese: Yunjing; Mirror of Rhymes]
by INKYO
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Ten columns per page, 20 characters per column. The first leaf in Japanese, the remainder in Chinese. 1 p.l., 52 folding leaves. 8vo (275 x 173 mm.), orig. wrappers (wrappers quite rubbed & and somewhat worn), old stitching. From the colophon: "Kyoto: Tahara Ninzaemon, 1641." A very rare early edition - not in WorldCat or NIJL - of one of the "two priceless records of the earlier stages of the Chinese language."-Edwin G. Pulleyblank, "Qieyun and Yunjing: The Essential Foundation for Chinese Historical Linguistics" in Journal of the American Oriental Society, Vol. 118, No. 2 (April-June 1998), p. 213. The Yunjing, along with its predecessor, the Qieyun, were the standard pronunciation guides of the Early Middle Chinese and Middle Chinese periods. The original motivation to compile these guides to pronunciation was religious: Chinese monks turned their attention to the analysis of the sounds of their own language as recitations of chants depended for their effectiveness on correct pronunciation. The…
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Ian Hamilton Finlay
by LEIBER, Steven, bookseller
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19 stapled sheets, printed on rectos only. [San Francisco]: n.d.<br /> <P> A rare list by Steven Leiber, this one presents the works of the Scottish poet and artist Ian Hamilton Finlay (1925-2006) in chronological order. It includes books, prints, sculptural poems, correspondence art, etc. The list is not priced. Fine.
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Ian Wilson, The Discussions
by (WILSON, Ian)
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No illus. 189, [1] p. Large 4to, orig. printed dust-jacket, softcover. Eindhoven: van Abbemuseum; Barcelona: MACBA; Geneva: MAMCO, 2008.<br /> <P> The Ian Wilson (1940-2020) catalogue raisonné, now scarce. A sharply designed catalogue of Wilson's discussions and artists' books, which opens with an essay by Anne Rorimer. It was published in conjunction with this exhibition held at the van Abbemuseum, Barcelona's MACBA, and Geneva's MAMCO (2008-9).<br /> <P> As new.
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Ich bin ein Buch kaufe mich jetzt [I am a Book buy me now]
by PENCK, A. R.
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Several diagrams and manipulations of the text. 2 p.l., 420 leaves (printed on rectos only) & colophon. 8vo (173 x 120 mm.), orig. white cloth over boards, red embossed title on upper cover & spine (extremities a trifle worn). N.p.: A. R. Penck & Michael Werner, 1976. First edition, a rare artist's book by A. R. Penck (1939-2017). Penck (a.k.a. Ralf Winkler) created several artist's books in the 1970s. The present publication is based on an enigmatic manuscript composed by the artist; it was type-set by Ilka Schellenburg. A sampling of Penck's statements and entreaties: "I am 2 books"; "I am a lot of letters"; "I am a square"; "I am spelled correctly"; "I am nonsense"; "Who are you?"; "I am between me and You"; "I am text and you are image"; "Please read properly"; "What are you for?"; "I am here"; and "Did you read it?" "It can be thought of as the epitome of the self-referencing work for it is the book that speaks; on the contrary, the book, as it were, concerns a prosopopoeia of the book which,…
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Ich nenne mich als Maler Konrad Lueg
by (LUEG, Konrad)
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Many illus. 181 pp. Large 4to, printed softcover, title on spine. Bielefeld: Kunsthalle Bielefeld, 1999. Scarce exhibition catalogue, which also serves as a catalogue raisonné of Lueg's groundbreaking paintings. This traveling show was staged at P.S. 1 (12 September-31 October 1999); Kunsthalle Bielefeld (14 November 1999-16 January 2000); and S.M.A.K. (30 January-2 April 2000). In excellent condition.
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Il clima Simbolista (8 November-3 December 1972)
by GALLERIA NARCISO
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Five illus. (one in color). Single long folded sheet forming [8] pp. Torino: 1972. Unrecorded by WorldCat, catalogue for a group exhibition at Galleria Narciso. The following artists participated: Leon Bakst, Walter Crane, Alphonse Mucha, Emile Bernard, Maurice Denis, Nikolai Kalmakoff, Alphonse Osbert, Hans Schmithals, John William Waterhouse, etc. Near fine. The gallery's 110th catalogue.
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Il est encore une fois: Voile / Toile, Toile / Voile/Segel / Leinwand, Leinwand / Segel, un travail in situ par/eine Arbeit in situ von...(18 May-22 June 1980)
by (BUREN, Daniel)
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Color cover illus. & illus. throughout. [24] pp. 8vo, printed softcover. Lucerne, Switzerland: Kunstmuseum Luzern, 1980.<br /> <P> Scarce Daniel Buren (b. 1938) exhibition catalogue, published in conjunction with his exhibition-installation at the Kunstmuseum Luzern. Buren reprised his use of striped sails, a medium he had first employed on Wannsee Lake outside of Berlin in 1975. An exhibition at the Akademie der Künste followed that installation. The present 1980 show was preceded by a work in situ on Lake Lucerne (3 May).<br /> <P> The catalogue is printed in parallel German and French and contains diagrams and photographs of the sails and the exhibition installation.<br /> <P> In fine condition. We locate copies at: Metropolitan Museum of Art, Getty, Stanford, Boston Public Library, Clark Art Institute, Art Institute Chicago, and Los Angeles County Museum of Art.<br /> <P> ⧠Daniel Buren's website,…
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Illustrated manuscript on paper, entitled "Kozai Fusha...zo. Kiseki fukiseki...[indecipherable name of the artist]" ["The Enjoyment of Rocks. Belonging to Kozai Fusha..."]
by GARDENS: ROCKS
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24 black & white with gray wash brush drawings of rocks. 25 folding leaves (including upper wrappers). 8vo (265 x 195 mm.), orig. wrappers bound in later wrappers. [Japan]: late Edo. A finely illustrated manuscript concerned with garden rocks from the three regions (Ono, Masuda, and Yoshiki) of Hida Province (today's Gifu Prefecture). Rocks have always played a fundamental role in Japanese garden design, and because of the unique geological history of the region, the rocks from Hida have always been prized for their unique rustic patterns that can be seen on their surfaces. For the 24 fine images of various kinds of Hida rocks, the artist has provided manuscript labels giving rather fanciful names reflecting each rock's shape ("aristocrat's hat," "dumpling rocks," "biwa lute," "sorceror's foot," "treasure chest," "iron pot," "bosom rock," "rainbow rock," "flower rock," "full-moon rock," "snake rock," "Buddha rock," etc.). Additionally, the artist provides information on where each rock was found…
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Illustrated flyer for Richard Hartwell 'recent works' (29 March-16 April 1977)
by (HARTWELL, Richard)
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Single sheet, printed on recto only, horizontal & vertical folds. Amsterdam: 1977.<br /> <P> Rare Other Books and So flyer for the British painter and photographer Richard Hartwell's (b. 1946) exhibition. Carrión opened Other Books and So in April 1975 and immediately began to host exhibitions and performances by a vast array of artists and publishers, such as Jiri Valoch, Raul Marroquin, Klaus Groh, Maurizio Nannucci, Dick Higgins, Guy Schraenen, Richard Kostelanetz, Jackson Mac Low, Steve McCaffery, Allan Kaprow, Tom Ockerse, Takako Saito, Mirtha Dermisache, Bernard Villers, Bill Gaglione, Anna Banana, etc.<br /> <P> Fine. From the collection of Tjeerd Deelstra (b. 1937), the collector and Fluxus adherent.<br /> <P> ⧠Guy Schraenen, ed., "We have won! Haven't we?" (1992), p. 124.
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Illustrated manuscript on paper, signed "Yashiro Nakagawa" on the first leaf
by SOBA NOODLES
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One full-page & three double-page brush drawings in black & gray. 12 leaves, mostly folding. 8vo (243 x 160 mm.), orig. hand-drawn pictorial wrappers (a little stained & worn), stitched as issued, label on upper cover "Soba narabini kendon no yurai" ("Notes on Soba & Origins of the Word Kendon). [Japan: at end "copied 1833"]. A fascinating and nicely illustrated manuscript on soba noodles, with a history, recipes, and related stories. The illustrations are finely and expressively drawn. On the first leaf of text, we learn this was written by Yashiro Nakagawa and edited by Tainotei. The fine full-page drawing at the beginning depicts a man kneading soba dough surrounded by all the ingredients and tools of his profession. Behind him is a woman tending the fire underneath a large boiling pot of water. The beginning text describes the materials used to make various soba noodles. The text transitions to a moral story of a Chinese woman with kendon (selfish) qualities who does not want to share her food.…
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Illustrated manuscript on paper, entitled "Shoryo shuen jojuki" ["Comprehensive Survey of Emperors' Mausoleums"]
by HOSOI, Kotaku (or Chishin or Tomochika)
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60 double-page (two have flaps) & several single-page illus., using brush & washes of many colors. 30; 31.5; 31 folding leaves. Three vols. Large 8vo (308 x 210 mm.), orig. decorated semi-stiff boards, manuscript titles on upper covers, new stitching. [Japan]: Author's Prefaces dated 1699 & 1709; Postfaces by Nobutomo Ban dated 1813 & 1841. A most interesting and attractively illustrated manuscript. In the late 17th century, the brother of Kotaku Hosoi, Chimei (d. ca. 1697), a samurai in service to the Koriyama fiefdom, visited the Nara area and was saddened by the disrepair of the many mausoleums, tombs, and tumuli of former emperors. Chimei began a survey of grave sites, and his work came to the notice of the shogun Tsunayoshi Tokugawa (1646-1709), who, in 1697, ordered a series of fences to be built around these sites in Yamato no kuni, including Nara, Kyoto, Osaka, Hyogo, and other areas. These fences - pictured in many of our manuscript's illustrations - were designed to protect the sites from…
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Illustrated manuscript on paper, entitled in a manuscript note on final opening: "Wayō ryō zukō " 和陽陵図考 ["Japanese Emperors' Tombs, Illustrated & Described"]
by IMPERIAL BURIAL SITES OF JAPAN
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39 fine double-page landscape paintings. 40 folding leaves. Small 4to (265 x 190 mm.), in orihon (accordion) format, orig. boards. [Japan]: on final opening (in trans.): "Copied in the summer of 1833 by [last name indecipherable] Hairi, a resident of Washu sakurai [part of today's Nara]." There are nearly 900 Imperial tombs in 457 locations in Japan, ranging from simple burial mounds to cemeteries to small temples. This manuscript contains landscape images of a selection of 34 Imperial burial sites, along with four famous landscapes and one ancient imperial residence area, all located in Yamato Province (today's Nara Prefecture). Each of the sites, with surrounding grounds, moats and lakes, and plantings, is beautifully depicted in rich pigments, using the Chinese "wrinkled rock" style of illustration. The sites range from mounds, planted with just a few trees, to sites for cremated bodies, to more complex sites where several emperors are buried. Each illustration has notes on which emperor (or…
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Illustrated A4 flyer for the exhibition Newspaper Art, Art Newspapers (30 November-23 December 1976)
by OTHER BOOKS AND SO
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Single sheet, printed on recto only, horizontal & vertical folds. Amsterdam: 1976.<br /> <P> Scarce flyer, designed by Tom Gravemaker, for a show at Other Books and So that was curated by Michael Gibbs. He included pieces by Bal, Dermisache, Tot, Hendriks, Roth, Hellion, Oldenburg, de Rook, Ulrichs, Y. Klein, Uecker, Kalkmann, Picabia, de Vries, Hartwell, Carrión, etc. Newspapers from the United States, Netherlands, Canada, England, Spain, Germany, Poland, Australia, Venezuela, Switzerland, Italy, and New Zealand were incorporated.<br /> <P> Fine. From the collection of Tjeerd Deelstra (b. 1937), the collector and Fluxus adherent.<br /> <P> ⧠Guy Schraenen, ed., Dear reader. Don't read. (2016), pp. 184 & 198 (pictured).
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Illustrated scroll on fine paper concerned with the final Noh subscription performances, of 1848, by the Hosho ryu (school) of Noh
by KANJIN NOH
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Scroll (310 x 4130 mm.), with silk borders & silk brocade on outside of front endpaper, wooden roller, recently & expertly backed. [Edo: late Edo]. An important document for Noh theater. Our scroll depicts the buildings, stage, and back rooms of the theater constructed for the Kanjin Noh performances of 1848. They took place at Sujikaibashi in Edo and were organized by the Hosho ryu (school) of Noh, whose chief performer was Hosho Tayu XV. This school was founded in the 14th century and was known for its emphasis on its dignity and the sensitivity and refinement of its singing. The Hosho ryu school thrives today with regular performances in the main Noh theater in Bunkyo, near the Tokyo Dome. Kanjin Noh ("benefit Noh") were originally subscription Noh performances held to raise money for worthy causes, such as construction or repair of temples and shrines. The tradition began in the 14th century. However, by the Edo period, the Kanjin Noh performances had turned into commercial ventures, bringing…
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