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

1967. (31.7 x 20 cm).. Dieter Roth writes from Reyjavik: “Lieber mensch, hast du jemals meine farb-dias erhalten? (die sind für die farbige nummer des Kalender buches, von dem du letzten sommer gesprochen hast … Hier ist ein kleines farbding, schreib einmal, was los ist oder was los sein wird, herz gruss ! D.R.” (Dear all, Have you ever received my colour designs? (They are for the coloured number of the Kalender book of which you spoke last summer … Here is a little coloring, write once, what is going on or what is going to be, Hearty greetings, D.R.). The letter is written in a combination of black and red pen, and is dated January 3, 1967. In the centre of the sheet Roth has drawn a wonderful composition using coloured pens and ink wash.

1964. Sheet (28 x 22 cm).. “Rome, 13 february, 1964. Dear Hansjoachim, finally today I’ve got your Kalendar-book - You sent it to me to the wrong address as you can see on the acclosing [sic] paper - Anyhow I found it now - my compliments to you; because your book is very interesting. Thank you very much. I hope to see you in Paris the first days of March where I’ll have a show of my new work at the Galerie J or in Venice where I show in a room at the Biennale. Thank you again and best wishes, Rotella”. Together with this letter, Rotella also sent two black-and-white photographs of his de-collage paintings (each 22 x 17 cm), one of the “La Tigre” (1962), and the other of “The Cup of Coffee” (1962). Rotella has signed each of the photographs on their versos, as well as writing out their details.

1961. Written across both sides of a single folded sheet.. (29.4 x 21 cm).. One of the most ubiquitous artists on the German Happenings scene was Bazon Brock. Brock regarded himself as ‘Beweger’, a person who stirs and sets things in motion. The aim was to focus spectators on the substance and character of a reality with which they have become too familiar and of which they have therefore lost a critical awareness. Brock signs off his letter with the word ‘Beweger’ written under his signuture.

Wuppertal.: Heydt-Museum., 1962. Original wrappers, small coffee stain to front cover.. (26.3 x 20 cm).. pp. 24. With 9 tipped-in plates, of which four are original zinc-lithographs by Herkenrath, each signed in pencil. Published in an edition of 300 copies to accompany the exhibition of Peter Herkenrath at the Heydt Museum in Wuppertal, May 1962. Numbered and signed by the artist on the colophon page. Herkenrath's painting was to stand independently within the German Informel movement of the 1950s and 1960s. From figurative and post-Cubist painting of the 1930s, Heckenrath came to abstract painting during the mid-1940s. He painted pictures, which he called ""structures"" and ""wall pictures"" in which he applied thick layers of paint with spatulas and brushes.

Prairie City, IL.: The Press of James A. Decker., 1940. Original cloth, with title in gilt to front cover (titles on spine slightly faded).. (22.8 x 15.1 cm).. pp. 38. Tipped-in frontispiece + original etching. The first appearance of Clark Mills's translation of Mallarmé's poem Herodias (an unfinished imagining of the story of Salome), printing the English translation and French original on facing pages. Published in an edition of 300 copies, with this one of only 20 édition de tête copies bound in cloth (numbered A-T), signed by Seligmann and Clark Mills on the colophon page, and with an original etching by Kurt Seligmann bound in as the frontispiece (the remaining copies only have the tipped-in reproduction of the etching).

Leeuwarden.: Stichting Het Leven., 1980-82.. Four volumes. Original printed wrappers. first issue bound by single plastic hole-punched button, the remaining issues stapled.. First three issues: (41.5 x 30 cm); final issue (29.5 x 20.6 cm).. Rare Frisian art and poetry periodical, published in a very typical 1980's graphic style. The magazine’s director was Hayo Sootsma, and the editorial board included Wim van Sinderen, Paul Steenhuis and Johan Scheepsma. Issue number 2 is complete with the ‘edible page’, whilst no.3 includes an article about Jos Haijer and the group Top Hole, with the accompanying flexidisc, an interview with Bart Chabot, and a section on the Jonge Friezen [Young Frisians], artists exhibited from December 12, 1981 in a gallery in Leeuwarden. Issue no.1 appears to lack the flexidisc which was issued within its pages. Collaborators include Julius Riemersma, Anton Corbijn, Wigle Visser, Frans Weytenberg, Johan Visser, Johan de Groot and others.

Paris.: Les Editions du Point du Jour., 1949. Original publisher's brown printed wrappers with facsimile of Brassai's handwritten title.. (16.4 x 12.8 cm).. pp. 89. Frontispiece etching by Brassaï, signed and numbered by him in pencil. The édition de tête with Brassaï's signed etching. From the edition limited to 2,600 copies, with this one of 126 édition-de-tête copies on 'alfa Alma du Marais' with an original signed etching by Brassaï. Brassaï, born Gyula Halasz in what is now Romania, was a prolific photographer who documented the seamier side of Parisian life. This collection of Brassaï's poetry, introduced by his friend Henry Miller, demonstrates that he was more than just a photographer. Divided into three sections, 'Propos de Marie', 'Le Procès de Marie' and 'Repertoire des Mots-Clés de Marie', the poetry is decidedly surreal in tone.

Heidelberg.: Edition Staeck., 1974. Silkscreen on pine. Minor scratches and dents to the wood, otherwise a good copy.. (10 x 14.7 x 3.3 cm).. Unlimited art multiple, with this one of approximately 600 copies signed in pencil by Beuys on the back of the postcard. [Ref. Jörg Schellmann - Joseph Beuys. The Multiples, no. 104].

Coventry.: Art-Language Press., 1967. Publisher's glossy white wrappers, stapled.. (25 x 20 cm).. pp. 99. Edition of 200 numbered copies, signed by both artists on the inside front cover. “… Atkinson and Baldwin produced the book Hot-Warm-Cool-Cold, in which semantic assumptions, classes of reverential categories, syntactical signs, terms, definitions of vocabulary, logic and the refusal of the object are brought together with the art object and the analysis of art”. (Germano Celant). [Ref. Germano Celant - Book as artwork 1960/1972. p.32; Moeglin-Delcroix - Esthetique du livre d'artiste, p. 37. Printed Matter; Die Sammlung Marzona in der Kunstbibliothek. The Marzona Collection at the Kunstbibliothek. Staatliche Museen zu Berlin, p. 90].

Los Angeles.: Greybull Press., 2001. Original blue cloth-covered boards, with titles stamped in black on front and spine. In printed card slipcase.. (26 x 18.7 cm).. pp. 112. An artist’s book collaboration between journalist-writer-poet Glenn O’Brien and artist Richard Prince. This book contains poetry by O’Brien and “dub” drawings by Prince. Titles are inspired by John Zinsser’s “750 Standard Painting Titles”. This one of the 250 special limited edition copies, signed on the title page by O’Brien, and with a loosely inserted original screenprint by Richard Prince, signed in pencil.

Salzburg.: Verlag Galerie Welz., 1974. Original thick boards, padded at the paste downs to keep the volume square. Titles stamped in red on spine, and matching artist’s signture stamped in red beneath the front cover illustration. Housed in original black card slipcase, again with red stamped artist’s signature.. (27.8 x 31.3 cm).. pp. 320, including 100 text pages + 4 plates of photographs of the artist printed recto only + 104 full-page or full-spread colour plates + 12-page list of plates. This one of the Luxusausgabe copies, limited to 550 copies, numbered and inscribed by Hundertwasser in white ink on the colophon page. Hundertwasser has dated his inscription 30 October 1974. This luxury edition is bound in thick boards covered with fine Persian black lamb suede and with a collotype/serigraph colour motif with metal foil embossing mounted onto the front cover. Another colour plate, using the same foil technique is included within the book. A magnificently luxurious monograph, with the… Read More

Uelzen.: Verlagshaus Bong & Co., 1969. Loose as issued in cloth-covered folder. Spotting to outer portfolio, otherwise fine.. (30.5 x 21.5 cm).. 13 cardboard sheets printed with a variety of typewritten designs and with cut-out sections. Edition limited to 300 copies, with this one of 200 copies, signed and numbered by Ji_í Kolá_. Kolá_’s work, as both a poet and visual artist, emerges from the politically charged atmosphere of the Central European avant-garde during the 1950s and 1960s. In the 1960s he explored geometrical abstraction, visual poems and three-dimensional objects. Over the years Kolár experimented with text and image, combined poetry and visual arts, and varied his forms in many different ways - the visualisation of typewritten designs through the cut-outs of the sheets in ‘hinauf und hinunter’ mirror the artist’s experimentations with three dimensional works, and are reminiscent of early computer art.