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

Dublin., 1924.. Loose as issued.. 2 issues. Large folio. (448 x 288 mm).. Printed text recto and verso in English (and German) in columns throughout, large monochrome woodcut illustration by Cecil Salkeld to each issue The rare, short-lived and suppressed Irish literary periodical 'TO-MORROW' with the first appearance of Yeats' 'Leda and the Swan'.Edited by Cecil Salkeld and Henry Stuart, 'TO-MORROW', despite its optimistic and future-looking title and the solicitation for content and subscription announcements, saw only two issues in 1924, for August and September. The editors had, however, secured contributions, a poem ('TO-MORROW' saw the first publication of 'Leda and the Swan') and an anonymous editorial, from Nobel Laureate W. B. Yeats, Liam O'Flaherty and Lennox Robinson as well as many others (see below) and aimed to publish a forum for new Irish poetry and prose that was inclusive and expansive. Unfortunately, 'TO-MORROW' was also controversial and was suppressed despite the support of… Read More

Paris., Jan. 1882 - Dec. 1882.. Contemporary red half-morocco, marbled boards.. 53 issues bound in 1 vol. 4to.. Illustrated throughout with monochrome caricatures. A weekly satirical magazine, Le Triboulet, took an affectionate line on the theatre and cabaret performers of the day. The triboulet, or jester, was the predominant satirical image of the work and each issue begins with the 'Chronique du Triboulet'. In many ways, Le Triboulet, can be said to be the French equivalent of Punch.

Paris.: Editions René Drouin., 1953.. Original publisher's grey faux cloth patterned wrappers with glossy black label to front cover with title in white, original black glossy dust-jacket with titles and illustration by Dubuffet to covers and spine, printed text to flaps.. 4to. (248 x 200 mm).. Half-title with justification verso, printed title, Limbour's text and 91 illustrations of works by Dubuffet, 8 tipped-in and in colour, final leaf with achevé d'imprimer recto. Edition of 1,050 copies including 50 hors commerce (an edition of 1,000 copies with a translation of the text into English was also produced for Pierre Matisse, New York); copy stamp-numbered '029' on the justification and with presentations in black ink on the half-title from Limbour and Dubuffet: 'Pour Madame Nina Dausset / Chevancheuse du Dragon des Arts / En Hommage / C. L.' and 'et avec mille amicales révérences de / Jean Dubuffet'.Nina Dausset, 'La Dragonne' in rue de Dragonne, was the owner of the gallery of the same name… Read More

London.: Tate Gallery., 1999.. Loose in original publisher's grey cloth drop-back box.. Large folio. (840 x 560 mm).. Eight chromogenic prints and one silver gelatin print (various sizes), each printed recto only on single sheets and signed and numbered verso; one further photographic transparency on acrylic; additional title page, contents page, and instruction page for displaying the photographic transparency. Portfolio of specially commissioned photographs published by the Tate Gallery, London.From the edition limited to 50 copies, 5 artist proofs were also published.To celebrate the opening of Tate Modern in 2000, ten contemporary artist photographers were invited to make an image inspired by the Bankside building and its surroundings. The resulting work includes architectural details, images of workers, and other more subtle allusions to the process of regeneration surrounding Tate, such as in Jeff Wall's 'A Sapling Held by a Post' (2000).The artists involved include Uta Barth, Sam… Read More

Eindhoven.: Van Abbemuseum., 1978.. Folded sheet. (210 x 197 mm).. Monochrome text printed recto and verso. Joseph Kosuth ephemeral flyer published on the occasion of the exhibition at Van Abbemuseum 10.06 - 09.07.1978.The flyer's text, written in Dutch, tells the reader where Kosuth texts / works can be found in the town of Eindhoven, for example at the car park shopping centre and the lawn embankment opposite the town hall.The sheet has been folded twice as intended.

Dudweiler.: AQ-Verlag., 1980.. Original publisher's stapled wrappers with photographic image to front cover of two empty telephone booths.. 4to. (245 x 185 mm).. Illustrated throughout with monochrome images printed recto and verso. Hans-Peter Feldmann's scarce artist book, 'Telefonbuch.'Feldmann photographs a young woman in a telephone booth in his distinctive serial style which considers the overlooked and mundane. As in many of his photographic artist's books, Feldmann is here interested in the appropriation of images. Lacking any commentary, these pictures appear to accrue different meanings according to the context in which they appear. It is this politics of the image that Feldmann has reminded audiences of throughout his career.The edition size is unknown and this copy is, as usual, unsigned. Feldmann most often works in limitless editions and believes in the democratisation of art.

London.: Art for All., 1971, Spring.. Loose as issued in original card wrapper with titles in black and signatures of Gilbert and George in red to front cover, justification '9 / 10' to rear cover in sepia ink.. Square 8vo. (204 x 202 mm).. Ten leaves numbered 'One' to 'Ten' each with central printed monochrome vignette portraits of Gilbert and George (each 40 x 30 mm) with alternating placement for each succeeding leaf above three line printed text, each leaf stamped with the red 'GG' stamp at lower right corner all recto only; sheet size: 190 x 190 mm. The very rare early portfolio detailing Gilbert & George's personal view of their own artistic persona(e).From the edition limited to 10 numbered copies, signed by the artists in red ink to the front cover and inscribed '9 / 10' to rear cover.Each leaf in 'The Ten Speeches of Gilbert and George ... ' features a similar text:, for example for the first leaf ('One'): 'They weren't Good Artists / The weren't Bad Artists / But, My God, the were… Read More

Vienna.: Gerhard Jaschke., 1984.. Original publisher's black cloth, titles in white to front cover.. 8vo. (210 x 148 mm).. One of 100 copies bound in cloth and signed and numbered by Rühm in pencil to the justification.

Olten and Freiburg.: Walter-Verlag, 1960.. Original publisher's printed glossy wrappers, toning to wrapper edges.. 4to. (222 x 279 mm).. With a presentation by Heißenbüttel in blue ink to the title.

Stuttgart.: Klett-Cotta., 1985.. Original publisher's white printed wrappers.. 8vo. (220 x 148 mm).. Signed by Heißenbüttel to the title in blue ink

Berlin & Neuwied.: Hermann Luchterhand Verlag., 1970.. Original publisher's silver printed wrappers with flaps, titles in black to front cover and spine.. 8vo. (210 x 148 mm).. Printed text in German throughout. A good copy signed by Mon on the title in pencil.

Chagny.: Pietro Sparta & Pascale Petit., 1985.. Original publisher's glossy printed wrappers.. 8vo. (195 x 126 mm).. Artist book by Peter Downsbrough.The book was published following Downsbrough's exhibition at Au fond de la cour á droite, Chagny, held between the 15th of January and the 6th of February 1983.[Küng 26].

New York.: New York Cultural Center for Art & Language Press., 1971.. Publisher's printed white wrappers, stapled. Slight staining to covers, and with discreet ex-library stamp to inner front cover.. 4to. (28 x 22 cm).. Artist book, published in an edition of 200 numbered copies, signed by both artists on verso of title page.Ten ethical propositions made by Baldwin and Atkinson are considered in depth.[Germano Celant - Book as artwork 1960/1972. p.84].

Los Angeles., 1967.. Original wrappers, text printed in orange ink on front and spine; glassine dust jacket.. Large 8vo.. 34 captioned photographic illustrations, 7 printed on rectos only, 1 two-page spread. The final image has a small flap attached to the right-hand page. First edition.'When he was working on Thirtyfour Parking Lots, Ruscha commissioned aerial photographer Art Alanis to take the photographs and told him to shoot all the empty lots he came across. While the images in the book are striking, especially those lots with herringbone patterning, Ruscha found even more to interest him in the photographs' unexpected visual features, such as the oil droppings on the ground revealed by photographing the lots without cars.'[Engberg & Phillpot - Ed Ruscha Editions, B5].

Los Angeles.: Eugenia Butler Gallery., 1969.. Three pentagonal cards. (each c. 100 mm x 100 mm).. Pentagonal pieces of white card gilded on one side. On the gilded side, text printed offset in red: 'This is the Ghost of James Lee Byars Calling. 615 N. La Cienega Blvd, Los Angeles, California, U.S.A.'. A scarce series of invitation cards for 'This is the Ghost of James Lee Byars Calling' at Eugenia Butler Gallery (Los Angeles), 1969, each with the artist's own handwritten note.James Lee Byars' cryptic notes, written and numbered (seemingly at random) in red, reads as follows: (Card 1): ''(65) I loved Balenciaga's dresses' '60' The double OO is Berdorf's sign' / (Card 2): '(61) The first produce I made in sch. was a red bird with revolving wings and total rotation (62) The last was my Phd. fic.' and (Card 3): '(63) My newest taste is snails (64) I like Black silk sheets'. For 'This is the Ghost of James Lee Byars Calling' Byars transformed the gallery into an entirely red room with a sole light… Read More

Los Angeles.: Eugenia Butler Gallery., 1969.. Single pentagonal card. (c. 100 mm x 100 mm).. Pentagonal piece of white card gilded on one side. On the gilded side, text printed offset in red: 'This is the Ghost of James Lee Byars Calling. 615 N. La Cienega Blvd, Los Angeles, California, U.S.A.'. Scarce and ephemeral invitation card for 'This is the Ghost of James Lee Byars Calling' at Eugenia Butler Gallery (Los Angeles), 1969, with the artist's own handwritten note.For 'This is the Ghost of James Lee Byars Calling' Byars transformed the gallery into an entirely red room with a sole light source from a two-and-a-half inch hole cut in the ceiling. The only entrance into the dark gallery space was through a two-and-a-half foot hole, and participants were asked to read various communications (describing Byars) that were sent to the gallery from people around the world to audibly reconstruct the artist. In addition to the mailed cards, the artist also wrote out various statements on the back of the… Read More

Paris.: Maeght Editeur., 1955.. Loose as issued in original publisher's wrappers with the etching by Braque, chemise with title to spine and slipcase with appliqué collage elements.. Folio. (448 x 240 mm).. Printed text illustrated with 20 original etchings, 17 full-page, by Georges Braque, final leaf with justification. Georges Braque's beautiful Cubist etchings.From the edition limited to 150 numbered copies on 'papier d'Auvergne à la main', signed by George Braque.The etchings were executed by Braque in 1932 at the request of Ambroise Vollard for a project which was never completed. The cover, the frontispiece and the head- and tail-pieces, however, were etched in 1953 and the cover printed in colour and varnished by the artist. [The Artist & the Book 38; Vallier 23].

New York.: Fischbach Gallery., 1967.. (10.8 x 21.5 cm).. Printed in purple. Exhibition invitation for Lenk's first North American show, February - March 1967.

Leipzig.: Chez les Heritiers de M. G. Weidmann et Reich., 1779 - 1785.. Contemporary calf-backed marbled boards, gilt tooling, decoration and title to spine. One leaf with discreet repair in vol. I and two leaves with tears and two leaves with bottom edge excised in vol. II.. 5 vols. in 2. 4to.. Each 'Tome' with engraved vignette title and numerous engraved illustrations as follows: 'Tome Premier' with forty-six illustrations; 'Tome Deuxième' with forty-nine illustrations; 'Tome Troisième' with fifty-seven illustrations; 'Tome Quatrième' with thirty-seven illustrations; 'Tome Cinquième' with forty-seven (ex. forty-eight) illustrations including one fold-out plate. In the later books several of the illustrations are full-page plates. Christian Hirschfeld (1742 - 1792), Enlightenment scholar and rationalist is perhaps best known for his five volume work on gardens. Published in German as the 'Theorie der Gartenkunst' at the same time as this French edition, Hirschfeld attempted to delineate the… Read More

Milan.: Giampaolo Prearo Editore S.r.L. / Galleria Toselli., 1973.. Original publisher's blue card envelope with flap, gilt titles to upper cover with the small excised rectangle to show the title vignette.. Oblong folio. (248 x 328 mm).. Leaf with titles and small colour vignette, 12 leaves each with colour offset illustration and final leaf with colophon, all recto only on glossy stock with rounded corners. (Sheet size: 244 x 324 mm). John Baldessari's beautiful photographic serial multiple. From the edition limited to 2,000 copies.As early as 1972 / 1973, Baldessari had set himself the impossible task of balancing order and chaos with Throwing Four Balls in the Air to Get a Straight Line (Best of 36 Tries) and Throwing Three Balls in the Air to Get an Equilateral Triangle (Best of 36 Tries), continuing in 1974 with Throwing Four Balls in the Air to Get a Square (Best of 36 Tries).