Search Results: Titles starting with D from Tim Byers Art Books

Amsterdam.: Self-published., June-November 1983.. Original wrappers. The cover of issue no. 1 is a hand-coloured etching by Rob Scholte, whilst the bubble-wrap covers of issue no. 2 were designed by Pieter Bijwaard.. (30 x 21.5 cm).. pp. 159; 180. Interior printed in photocopy with black-and-white illustrations. Radical underground Dutch artist periodical printed in 100 copies, edited by Martin Bril, Edzard Dideric, Rob Scholte, and Dirk van Weelden. Apart from the editors the magazine also includes contributions by Rob Schouten, Albert Mantje, Martin Bril, René Daniels, Walter Carpaij, and Maarten Ploeg. The wonderful wrapper of the first issue is decorated with an original hand-coloured etching by Rob Scholte, depicting a rampant lion (Leo Belgicus map) on both the front and back cover.

Milan.: Galleria Gian Enzo Sperone., 1967. Lithograph poster, machine-folded into nine sections. Small holes in folds, but generally in very good condition.. Unfolded (42 x 55 cm).. Original poster, designed by Clino Trini Castelli, for Flavin’s first solo exhibition in Italy, held at Galleria Sperone in Milan, February 14 - March 15, 1967. The full-bleed image of the poster is a grainy shot of three of Flavin’s interlocking flourescent light tubes.

Halifax.: The Press of the Nova Scotia College of Art & Design / New York University Press., 1979. Original cloth, with colour reproduction mounted on to front cover. Titles stampled in red.. (21.5 x 28 cm).. pp. (vii), 89. Black-and-white illustrations throughout. Published in The Nova Scotia series of Source Materials of the Contemporary Arts.

Stuttgart, London, Reykjavik.: Edition Hansjörg Mayer., 1973. Original printed folding card wrappers. Minor rubbing to extremities, otherwise very good.. (25 x 17.5 cm).. pp. (80). Offset-printed black-and-white illustrations and text throughout. Artist’s book, published in an edition of 200 copies, numbered and signed in pencil by Dorothy Iannone. From the early 1970s onwards, the book form became a favoured medium for Iannone, given its ability to combine text and image and accommodate the narrative dimension of her work. Danger in Düsseldorf is one of a series of landmark books produced by Iannone during a short period: The Story of Bern, Speaking to Each Other, With Mary Harding (1977) and Berlin Beauties (1978) are other examples. [Ref. Bronac Ferran - The Smell of Ink and Soil. The Story of Edition Hansjörg Mayer, p. 242].

(1962).. A seemingly undocumented collaboration between the Fluxus perfomer and composer Ben Patterson, and the French sculptor Philippe Hiquily. Consists of a photostat of a signed drawing (signed by both artists) of a catapult designed by Hiquily with his annotations. Accompanied by a half-sheet of paper, with typed explanatory note in German: “Das Ewige Museum. Kunst-objekte alle art (bilder, plastiken, romane, gedichte, kontrabässe, musikalische sägen, die haare einer geliebten, der zorn eines tenors, u.s.w.) werden mit diesem katapult in verschiedene weltraum-kreisbahnen geschickt. Dabei wird eine ewige und grandiose ausstellung entstehen, sichtbar für die ganze himmlische, wie auch weltliche bevölkerung durch beleuchtung von sonne, mond und kernexplosionen. Der katapult wird an dem rand eines tiefen gewässers aufgestellt, für den fall eines misserfolgs des schusses. Intendant und general-direktor: benjamin patterson. technischer berater: philippe hiquily”. (translated): The Eternal… Read More

Berlin.: Edition Hundertmark., 1971. Single sheet, offset printed in black, with photograph reproduced on upper half, with text printed beneath. Soft central horizontal crease.. (37 x 26 cm).. The seventh ‘Edition Box’ produced by Hundertmark was executed by Hermann Nitsch in 1971, and consisted of 10 original photos, and seven collages. This is the orignal flyer for the publication, printed on a single folded sheet.

Heidelberg.: Edition Staeck., 1981. Three boxes of colour postcards + a bag of dried peas; housed together in original cardboard box.. (19.5 x 27 x 6 cm).. Published in an edition of 25 (+ 5 a.p.) copies, numbered and signed by Beuys in pencil on the lid of the box. Beuys additionally signed and inscribed the bag of peas in black pen. The colour postcards illustrate the Wirtschaftswerte, a Beuys installation at the exhibition ‘Art in Europe After 1968’, held at the Museum van heedendagse Kunst, Ghent, 1980. The bag of peas were made in East Germany (GDR). “The economic system and the changes it required held a very special place in Beuys’ model for the future … his ideas about the relationships between economics and culture entered not a small number of his artistic works.” (Klaus Staeck - Wirtschaftswertprinzip). With the Wirtschaftswert works, almost all the original materials stemmed from the GDR, and some from the Federal Republic, the Soviet Union, and Poland. What first attracted… Read More

Berlin.: Haus am Lützowplatz., 2000. Original wrappers.. (18 x 11.5 cm).. pp. (64). Illustrations throughout. Small artist’s book published on the occasion of Emmett Williams’s exhibition entitled “Märchenstundengebilde”, held at the Haus am Lützowplatz, August 2000.

Cologne.: Wienand Verlag., 1975. Artist’s broadsheet newspaper and exhibition catalogue, with loose sheets as issued. With original yellow obi, with text printed in black: “Sigmar Polke, XIII. Bienal de São Paulo 1975, República Federal da Alemanha”.. (41.7 x 29.6 cm).. pp. (28). Colour illustrations throughout on every page. With an introductory essay by Evelyn Weiss, in German and Portuguese. Printed for the 1975 São Paulo Bienal, in which Polke featured as West Germany's entry and won the competition. Published in an edition of 800 copies, this newspaper both contributes to and illustrates Polke’s exhibition of his ‘Day by Day’ series of prints and paintings at São Paulo. The series uses imagery from German mass media, concentrating primarily on the more political subjects, and combining this with Polke’s trademark printing manipulations. ‘The lightly sketched, relatively unprepossessing cover belies the publication’s dumbfoundingly intricate interior, which functions like a… Read More

Paris.: Cobra-Bibliotheek., 1950. Loose as issued in original thin card folder, with additional hand-coloured illustration by Karel Appel. Cover slightly browned, overall a very good copy.. (27.3 x 22 cm).. pp. (16). With the seven illustrations, each hand-coloured by Karel Appel. He has also hand-coloured the illustration on the front cover. One of the landmark early Cobra artist’s books. Karel Appel and Hugo Claus created this book at the end of 1950, when they were both living in Paris. It was published as the first number of the Cobra-bibliotheek’s ‘Hand-reeks’ (Hand Series). The book consists of seven hand-written texts and drawings, which were subsequently duplicated using a photocopying system. Karel Appel then coloured the illustrations by hand. His work exhibits the playful, colourful shapes that were inspired by children’s drawings and which are so typical of the work of the Cobra artists. Advance subscribers could receive this book for just three guilders, but unfortunately there… Read More

Hinwil.: Edition Galerie Howeg., 1970. Publisher’s wrappers, with dust jacket.. (Book: 17 x 12 cm; folder 34.5 x 50 cm).. pp. (68). Artist book with a sequence of 32 pairs of words. The first an abstract noun, the second a corresponding past passive participle, beginning with ‘Affirmation Affirmed’ and ending with ‘Negation Negated’. Signed in pencil by Maurizio Nannucci on final blank. Published in an edition of 300 copies, with this one of 50 deluxe copies with a set of seven original screenprints by Nannucci, printed with white texts on black card. Each of the screenprints (measuring 33.5 x 49 cm) is signed and numbered in pencil by Nannucci on verso. The suite of prints, the book, and a printed information colophon card are housed within three separate pockets of a white flexible plastic folder. This plastic folder has titles printed in black on the front. [Ref. ED/MN Editions and Multiples. Edited by Maurizio Nannucci & Emanuele de Donno, pp. 114-115].

Berlin.: daad galerie., 1979. Original printed wrappers.. (29.6 x 21 cm).. pp. (20). Full-page colour reproductions of Brus’s drawings. Exhibition catalogue, September - October 1979. With introductory text by Wieland Schmied ""Zwei Texte für Günter Brus. Ein irdisches Totaltheater. Eine Rühmung des Dekorativen”. This copy complete with the list of exhibited works printed on a separate loose sheet.

Newcastle-Upon-Tyne.: University of Newcastle., 1966. Three-part folded sheet with text and illustrations printed both sides + three additional loose text leaves with typed catalogue entries. Slight foxing to covers, otherwise good.. (21 x 15 cm).. With five black-and-white illustrations. The catalogue for a long-forgotten documentary exhibition which used mainly photographs and texts on panels as display materials. Compiled and curated by Ron Hunt, then librarian in the Department of Fine Art at the University of Newcastle, the exhibition was actually installed in the Physics department at Newcastle University, 1967. Hunt had joined the university library on the instigation of Richard Hamilton in 1962, and Descent into The Street was one of his first curatorial endeavours. The exhibition encompassed a wide spread of material - Constructivist design, Rodchenko, Malevich, Lissitzky, Rodchenko, Dada and Surrealist actions; recent art including such things as Warhol’s Exploding Plastic Inevitable,… Read More

Eschenau.: The Eschenau Summer Press Publications., 1978. Folded red card. Minor scratches to surface of card, otherwise very good.. (21 x 14.8 cm).. Artist’s book, published as the twelfth number of Herman de Vries’s series of eschenau summer press publications & temporary travelling press publications. Published in an edition of 150 stamp-numbered copies, James Lee Byars’s contribution consists of a folded red card, with a red cord glued into the centrefold of the folder. The total length of cord is apparently 185 cm (the artist's height). At exactly the mid point of the cord, 3 additional cords of 92 cm each are knotted onto the assembly. On one of these cords yet another cord is knotted after exactly 38 cm.

Vienna.: Self-published (Hermann Nitsch, Josef Dvorak, Otto Muehl & Adolf Frohner)., 1962. Two horizontal sheets each (24.5 x 60.3 cm), printed double-sided. Folded.. The manifesto Die Blutorgel (The Blood Organ) was published in late May 1962 by Adolf Frohner, Otto Muehl and Hermann Nitsch together with the psychoanalyst Josef Dvorak. It remains the first printed document published by the Vienna Actionists. The broadsheet contains Nitsch’s explanation of the concept behind the Orgies Mysteries Theater, and Muehl’s text “Der M.-Apparat”, a self-ironic consideration of his artistic approach. It also includes Frohner’s essay “Der Schrei der Kunst”, and Dvorak’s text “Blutorgelei als Daseinsgestaltung” (Blood Organing as Existential Design), written under the pseudonym Frtiz Graf. All these texts are preceded by the announcement of the forthcoming four-day ‘Blutorgel’ action which was to take place the following month at Muehl’s studio. On June 1 1962, the front entrance to… Read More

Berlin.: Published by Günter Brus., 1975. Single sheet screenprint in black on white card.. (25 x 34.8 cm).. Unused cover design for Die Drossel issue no.14. Die Schastrommel, (renamed Die Drossel in 1975) was the renowned Austrian Exil periodical published by Brus, Otmar Bauer, Oswald Wiener, Gerhard Rühm. For each issue Brus designed a screenprinted cover, including those of the special editions. Die Drossel no.14 is the only issue where the planned cover was changed before publication. Despite a supposed 500 copies being printed, examples of this discarded first cover design are scarce. [Ref. Roman Grabner - Erdruckt und erstochen. Die Druckgrafik von Günter Brus, p. 130].

Eindhoven.: Stedelijk van Abbemuseum., 1982. Bound in original full brown buckrum, with title stamped in black on spine.. (24.8 x 16.8 cm).. pp. 424. Monochrome illustrations throughout. Artist’s book published in a total edition of 740 copies, with this one of 240 numbered copies with an original signed and dated photograph (15 x 25 cm) housed in a folder at the rear. Each of these deluxe copies of the book was assigned the name of a particular tree, with this example inscribed ‘Johannesprot’ on the numbered colophon page. The book itself begins with a list of the names of South American trees, and then segues into a narrative, interspersed with photographs and found images, the product of the artist's 18-month exploration of a Yanomomi village in Venezuela, a community which at that time had almost no contact with the outside world.

Düsseldorf.: Galerie Heike Curtze., 1980. Original colour printed wrappers.. (30 x 21 cm).. pp. 45, (3). Colour and black-and-white illustrations. Catalogue to the exhibition in the Heike Curtze Galerie, November - December 1980. Printed in an edition of 1000 copies. This copy signed in pen by Attersee on the title page.

Cologne.: Galerie art intermedia., 1969. Single decorative paper doily.. (26.5 x 17.5 cm).. Invitation to the opening night of André Thomkins’ exhibition at the Galerie art intermedia in Cologne, with the text stamped in purple on a paper doily. As described in the text, Thomkins’ friend Daniel Spoerri was to cook a soup during the show’s opening.

Stuttgart.: Galerie D + C Mueller - Roth., 1984. (30.5 x 22.5 cm).. The work consists of a diary (reproduced handwritten text, 28 sheets, bound in boards), an audio cassette with a handwritten title (sounds of the action at the Berlin Wall; wind, bells, sweeping noises, footsteps, etc.) and a black-and-white photograph (29.5 x 21cm). Housed together in a cardboard box, titles handwritten in pencil by the artist on the lid.