Søgningsresultat

New York; Vincent FitzGerald & Co., 1989. 17x24 cm. (32) pp. + 2 blank leaves on maroon luxury paper. Bound in black silk by Zahra Partovi, and housed in a black silk clamshell box (David Bourbeau, Thistle Bindery) with steel plates inserted on the boards. Both the book and the box are shaped as trapezoids. Very fine. The text was printed by Allethaire Press and the Wild Carrot Letterpress, and the etchings by Marjorie Van Dyke and M'Lis Bartlett at The Printmaking Workshop on Rives Johannot and Dieu Donné paper. The etchings are printed as a continuous line throughout the book. The text, Rumi's parable on the Chinese painters versus the Greek painters, comes from the Mathnawi, translated and calligraphed by Partovi. No. 3 of 50 copies printed, signed by both the artist and translator on the colophon. From the library of Anders Tornberg Gallery in Lund, Sweden.

New York; Exit Art, 1982. 28x21,5 cm. 27 folded sheets in a brown cardboard box. The box has been sealed with a dollar bill, and has been opened. There is a small crack in onr of the foldings. A fine copy. Published on the occasion of Exit Art's first event, a group exhibition at Franklin Furnace in New York. The exhibiting artists were Vito Acconci, Gempei, Akasegawa, Louis Aragon, Scott Billingsley, Marc Blane, Gunther Brus, Barry Bryant, Chris Burden, Papo Colo, Bogomir Ecker, William Farley, John Fekner, Lou Forgione, John Giorno, John Halpern Gaag, Abbie Hoffman, Sam Hsieh, Jay Jaroslov, Komar & Melamid, George Maciunas, Gordon Matta-Clark, Ann Messner, Richard Mock, Peter Monnig, Charlotte Moorman, Otto Muehl, Hermann Nitsch, Dennis Oppenheim, Peoples Flag Show, Jan Van Ray, and Real Estate Show. ""The show explored the ways in which the practice of art had occasionally run afoul of the law, from Charlotte Moorman playing cello in the nude to Chris Burden ordering his assistant to shoot him in his arm. The catalogue consisted of a series of artists’ statements housed in a box, which was sealed shut. In order to open it, you had to tear through a dollar bill glued across the flaps—an illegal act, albeit of the mildest kind."" (Hua Hsu, ""Exit Art 1982-2012"", in The Paris Review, April 12, 2012). From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on inside of the box.

Santa Monica; Jacob Samuel, 1988. 27,5x21 cm. (2, 6 blanks) pp. + 8 plates of original etchings and aquatints with tissue-guards. Bound in black cloth and housed in the original black cloth slipcase. The slipcase is slightly faded. Very fine. Colophon: ""This book was printed by Jacob Samuel at the Litho Shop Inc. in Santa Monica, California, assisted by Shimone Samuel. The plates were made by the artist between October 1987 and February 1988 using the soft ground method. Aquatint was added later. Book design by Jacob Samuel and Jene Highstein; letterpress by Les Ferriss. Bookbinding by Klaus-Ullrich S. Rötscher."" Issued in 10 numbered and signed copies. This is no. 8. From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the last blank page.

Köln; Galerie Engels, 1986. 26x20 cm. 35 leaves, printed on the recto. Original grey linen, printed in black on front board. A fine copy. Contains the text ""Carioca sein"" by Kippenberger and Albert Oehlen, and 23 plates in silkscreen. One of 75 issued copies. ""23 Four-grey-tone-proposals for the Modernization of the Backstroke Swimmer"", referring to the statue Christ the Redeemer in Rio de Janeiro, was published to accompany the exhibition at Galerie Engels. Signed by Kippenberger in pencil. Koch, Annotated catalogue raisonné of the books by Martin Kippenberger 1977-1997, no. 32. From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the last blank page.

Albuquerque; Tamarind Institute, 1991. 31x31 cm. 8 lithographs on Somerset satin paper, each one within a portfolio of black Arches paper, a lithographed title page, and a colophon. On the inside of the portfolios, text from letters sent to Benes by his aunt Evelyn is printed. All pages are dusted with metallic powder. Hand printed by Sarah Amos. Housed in a black cloth box, bound by Portfoliobox Inc. in Providence, Rhode island, which also includes a fastened paintbrush made from shredded dollar bills. This suite of lithographs was issued in 29 copies: 20 of which were numbered from 1-20, 5 artist's proofs, 3 Tamarind impressions, and the bon à tirer. This copy is No. 3 of the artist's proofs, signed by Benes, and additionally inscribed by him to the gallery owners Inger and Anders Tornberg on the title page: ""for Inger and Anders -- Christmas 1993. Thanks for being there for me during dark times / I love you -- Barton"". From the library of Anders Tornberg Gallery in Lund, Sweden.

Paris; Atelier Franck Bordas, 1993. 20,5x15,5 cm. 13 leaves + 50 original lithographs. Loose leaves in blank wrappers, housed in the original printed grey cloth chemise and slipcase, made by Bernard Duval. Very fine. Issued in 100 copies numbered 1-100, plus 25 copies HC, numbered I-XXV, all of them signed by the artist. This is number IV/XXV. In a short preface, entitled ""Mannerism Origins"", Brown states: ""Let us begin with Dana and Alexandra who walked with me through mannerism in all the subtleties contained and all the grandeurs offered. For what this reactionary movement has spun I admire and embrace. For Rome as it is. As it inspired."" Additionally inscribed by the artist to gallery owners Inger and Anders Tornberg on the first blank leaf: ""Inger + Anders / James / 1995"". Brown exhibited at Anders Tornberg Gallery on three occasions between 1985 and 1991. From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the last blank leaf.

Rome; Il Ponte editrice d'arte, 1991. 23,5x17 cm. (36) pp. + colophon. Original printed boards. The boards are insignificantly bowed. Very fine. A facsimile reprint of Longobardi's sketchbook, printed in litho-offset in 1000 copies, of which the first 100 are signed by the artist and contain a loosely inserted original etching. This is the signed no. 18, with a laid-in original etching, signed in pencil and numbered 47/50. From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the last blank page.

New York; Vincent FitzGerald & Co., 1993. 23x23 cm. 14 leaves, printed on Rives BFK and Dieu Donné Papermill by Daniel Keleher at the Wild Carrot Letterpress. Coptic binding with wooden boards, by Zahra Partovi, with a Japanese paper-label on front board. Housed in a grey cloth Solander box (BookLab) with red leather-label on spine. Very fine. Issued in 50 copies, all of them signed and numbered by the artist on the colophon. This is the artist proof no. 2. Additionally inscribed by Kurahara to Swedish gallery owner Anders Tornberg in 1993.

Lund; Anders Tornberg Gallery, 1985. 26x26,5 cm. A portfolio of 10 etchings, with tissue-guards and loosely placed in printed wrappers. Housed in the original grey Solander box, made by Gerhard Larsson, Malmö. Very fine. The etchings were printed by Marjorie van Dyke, assisted by Julie D'Amario, at the Printmaking Workshop in New York. The portfolio was issued in 50 copies, plus 10 artist's proofs. This copy is ""A. P."" but not numbered, and signed by Susan Weil on the colophon. From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on rear inner board of the box.

Mapp innehållande 17 signerade sepia-teckningar på papper om 24x17 cm monterade på grå kartong, samtliga daterade 1943. Porträtten föreställer Christian X av Danmark, Winston Churchill, Mahatma Gandhi, George VI av England, Gustaf V av Sverige, Haakon VII av Norge, Per-Albin Hansson, Adolf Hitler, Gustaf Mannerheim, Vjateslav Molotov, Benito Mussolini, Henri Petain, Vidkun Quisling, Franklin D. Roosevelt, Haile Selassie, Josef Stalin, samt Wilhelmina av Nederländerna. Några bilder med svagt mörknade marginaler. Christian X:s porträtt har två minimala stötmärken i marginalen. Välbevarad samling. Jensen-Carlén publicerade 1941 en svit om 38 karikatyrer av kända samtida personligheter under titeln ""Tidens ansikte 1939-1941"". I föreliggande svit har Gandhi, Per-Albin Hansson och Quisling tillkommit, porträtten av de övriga har omarbetats i olika utsträckning. I denna nya svit har Jensen-Carlén dessutom arbetat med grå och bruna toner som saknas i 1941 års tryckta teckningar. Denna svit har aldrig publicerats. Jensen-Carlén (1888-1957), konstnär och reklamtecknare, främst ihågkommen för sina karikatyrer ur det lundensiska studentlivet.

[No place]; Edition Erling Neby, 1996. 2 text leaves + 24 serigraphs with tissue-guards, housed in the original red cloth box, bound at N-G Nilssons Bookbindery. Printed on Arches 300 gram paper measuring 38x28 cm, with an image size of 15x12 cm. No. 74 of 95 sets. All leaves are numbered and signed by the artist. The box has two faint stains on front panel, and one of the sides has a crack. The leaves are all very fine. Inscribed by Osipow in Swedish to Anders and Inger Tornberg, congratulating them on their marriage in 1996. The Norwegian entrepreneur Erling Neby, born 1950, started purchasing constructivist and geometric art in the early 70s, and is now the owner of one of the world's foremost collections in this field. The collection focuses mainly on Scandinavian artists, such as Olle Bærtling, Gunnar S. Gundersen, Robert Jacobsen and Paul Osipow, but includes also the works by international artists such as Jean Dewasne, Victor Vasarely, Ludwig Sander and Horia Damian. The collection was exhibited at Henie Onstad Kunstsenter in 2011, and a major catalogue was published by Skira at this occasion. The Finnish artist Paul Osipow, born 1939, was first recognized for his pop-art paintings, but later turned to constructivism. In a laid-in letter, two full A4-sheets in handwriting, Osipow gives the story behind this publication, and explains the structure of the work in detail. The letter is undated and without recipient; it was probably just handed to Anders Tornberg or sent together with the book. From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the inner board of the box.

Lund; AB Propexus, 1990. First edition. 24x18 cm. 320 pp. Blue steel binding with black edges. The book is contained in a cushion package, together with ""The Sphere of Generosity"", a multiple in fired clay by James Lee Byars, and housed in the original printed card slipcase. Very fine. The book was published on the occasion of Orr's exhibition at Anders Tornberg Gallery in Lund in an edition of 1000 copies, and designed by Gert Fors, John Melin, and Anders Tornberg. The art critic Thomas McEvilley has contributed with a series of texts. The ""Skull Page"" paper was handmade by Yoshio Ikezaki, Los Angeles, using kozo fibers and a powdered mummy skull. ""The Matter of O"" was rubber-stamped with Eric Orr's blood. Pp. 25-26 are blank with a vertical tear deliberately made by Orr. The copy was inscribed by Eric Orr, James Lee Byars, and Thomas McEvilley at an Opening of the book at the University in Lund. From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the slipcase.

New York; Thea Westreich, 1989. First edition. 31,5x22 cm. (88) pp. Original red cloth with gilt lettering on spine and boards, housed in the original cloth slipcase. Numbered and signed by Prince 109/250 on the justification page, and with the loosely inserted print with a ""joke"", signed by Prince in pencil. Very fine. Inside World was published on the occasion of the exhibition under the same name at Kent Gallery, New York, in 1989. The exhibition, co-curated by Richard Prince and Thea Westreich, is centered on American macho iconography. The book contains Prince's photographs of The Marlboro Man, stock car racing, heavy metal and biker culture etc., together with reproduced artworks by Francis Picabia, Sigmar Polke, Cindy Sherman, Richard Artschwager, Andy Warhol, and others, all of them treating different aspects of mass media culture. The deluxe edition was issued in 250 numbered and signed copies, and 8 artist's proofs. With each copy comes a different ""joke"", which in this case reads ""'If I refuse to go to bed with you', she wispered, 'will you really commit suicide?' That's been my usual procedure."" From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the last blank page.

New York; Paula Cooper Gallery, 1982. First edition. 23x23 cm. 44 leaves of plates + colophon. Original printed wrappers. A minimal chip at foot of spine. Small fold at top corner of front wrapper. A very fine copy. Inscribed by the artist to gallery owner Anders Tornberg: ""For Anders / Sol LeWitt / NYC / Jan 7, 1983"", followed by an original ""Lines in Four Directions""-drawing. LeWitt exhibited at Anders Tornberg Gallery the same year.

Köln; Galerie Gisela Capitain & New York; Edition Julie Sylvester, 1989. 38,5x32,5 cm. Contains title, colophon, and 16 etchings with aquatint and drypoint, printed by Thomas Sebening on 250-g Velin Lana Gravure. In the original mustard yellow cloth with slipcase, bound by Otto Katzemich. Very fine. Issued in 10 unbound copies numbered I through X, and 28 bound copies. This is number 19 of 28, signed and dated by Förg on the colophon. From the library of Anders Tornberg Gallery in Lund, Sweden.

New York; Vincent FitzGerald & Co., 1989. 24,5x17 cm. (20) pp. Leporello binding by Zahra Partovi, with grey Dieu Donné paper on boards and a paper-label on front board, housed in matching card portfolio with silk tie closure. A very fine copy. The text was printed by Kelly Winterton at the Wild Carrot Letterpress on J. B. Green paper, and the etchings by Shigemitsu Tsukaguchi. Illustrated with Line etchings and mezzotints by Susan Weil. The original Persian text is printed on the verso. Issued in 50 copies, all of them signed by Weil and Partovi. This in no. 11.

Köln; Galerie Gisela Capitain, 1989. Blue cloth portfolio with 5 linocuts printed on 45-g Shoji paper, measuring 47x35 cm. There is a shadow from a price-label on the portfolio, and one leaf has a small cornerfold. Very fine. Issued in 25 numbered copies in Roman numerals, and 5 copies in Arabic numerals. This is No. 15/25, with all leaves numbered and signed by the artist. From the library of Anders Tornberg Gallery in Lund, Sweden.

New York; Thea Westreich / Köln; Gisela Capitain, 1990. First edition. 32x23,5 cm. (8, 2 blanks) pp. + 61 plates with tissue-guards. Original printed boards with transparent mylar jacket covered with ink doodles. A very fine copy. Published in a limited edition of 250 numbered and signed copies, and 12 artist's proofs. This is no. 41. The book, designed to resemble a highschool yearbook, consists of a series of iconic American photographs, on which crude drawings in the worst schoolboy manner have been made. Kelley states in the foreword, for instance that ""Here we have a collection of grotesqueries, defacements of some of the most cherished images of our American past. Who could be responsible for such defilements? [...] Murder, war, the struggle for power, the desire for wealth, and the disruption of social order: all passions fired by the flesh, of no consequence today when peace and satisfaction are the rule. The past is where these things belong - adored but not emulated. [...] It is this childish resentment that is the cause of the defacements presented here. The inability to accept their lower position in in the order of things provokes these 'artists' to drag back to the surface garbage long buried - to sully, vandalize and make inoperable pictures of health. [...] They take their first toddling step toward the construction of a glorious future by this - their reconstruction of the past."" From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the last blank page.

[New York], 1992. 359 A4-sheets, numbered 1-339, including 18 inserts, title leaf and colophon. Housed in a green cloth box with lettering in black and red on spine and front board. The box is slightly faded at spine. Very fine. Number 4 of 81 copies, signed by Anastasi on the colophon page. A colour reproduction of Anastasi's manuscript in which he traces influences from Alfred Jarry in the works of Marcel Duchamp and James Joyce, with special focus on Finnegans Wake, a project initiated in 1989 and presented at the Fifteenth James Joyce Conference in Sorbonne in 1994. A selection from the manuscript was published by Aaron Levy and Jean-Michel Rabaté (""William Anastasi's Pataphysical Society: Jarry, Joyce, Duchamp, and Cage"", 2005). In the foreword, the authors stress the importance of Anastasi's investigations: ""By showing concretely that many passages in Finnegans Wake contain buried allusions to Jarry's characters and vocabulary and personality, Anastasi is not simply annotating Joyce's masterpiece; he provides a new way of reading all avant-garde literature"". From the library of Anders Tornberg Gallery in lund, Sweden. This copy was probably handed over to Anders Tornberg in 1992, at the occasion of the retrospective exhibition of Anastasi's works at Anders Tornberg Gallery.

No place, 1983. 22x16 cm. (56) pp. Leporello in linen boards with a mounted drawing on front cover by Susan and Grace Weil. One leaf is slightly chipped and has a pair of small holes in lower margin. A fine copy. This is no. 20/56, with the title drawn from the writings of Gertrude Stein. Signed by Susan Weil and Sara Kirschenbaum in pencil on the title page. One of 56 jointly handmade books, all of them with different collages, original photos, watercolour, and title. From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on rear inner board.

New York; Thea Westrich, 1991. 29x21 cm. 18 leaves + 16 photos printed on transparent vellum. Bound in imitation leopard skin and placed in the original card box, with printed paper-label on front panel. There are a few light creases on the box. The book is very fine. This is no. 110 of the edition's 230 copies and signed by Calle on the colophon. In The Doctor's Daughter, Calle plays the role of Sophie, the doctor's daughter who grows up to be a striptease artist. Opposite the photos are leaves with tipped-in envelopes with note cards, written in French and with an English translation on verso of the facing leaves. Calle treats issues of gender and sexuality ""with complexity and subtlety, though with an admirable economy of means"" (The Photobook). From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on inside of the box. The Open Book pp. 352-353. The Photobook, vol. II, pp.166-67.

Albuquerque; Hoshour Gallery, 1988. 28,5x24 cm. 35 folded sheets, unbound in double yellow card slipcases, as issued. Reproductions of paintings, drawings and sculptures by Robert Therrien are accompanied by seven poems by Creeley and six prose pieces by Butor. Issued in an ordinary edition of 1500 copies and a limited edition of 35 copies. This is number 23/35, which includes an original artwork by Therrien on the cover, and an additonal short poem in handwriting by Creeley. Signed by all three contributors on the colophon. From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on inside of the box.

A collection of original letters, postcards and telegrams sent to the poet and photographer Lütfi Özkök. The collection consists of 84 letters, 14 postcards, 4 poems in handwriting, 7 telegrams and a few miscellaneous items, such as a letter to Özkök from Marie-Claude, the last woman in Char's life. Özkök met with Char for the first time through Michel Deguy in 1961. The meeting resulted in a photo session in Char's Paris apartment, and their more than 25-year long correspondance began shortly thereafter. Özkök's next visit, to Char's home in l'Isle-sur-la-Sorgue, was made in 1967, when they started to make plans for a cooperation on a photo book on the Vaucluse area, where Char lived and where he also grew up. It resulted in a short film by Özkök on Char's poetry, released in 1972 and broadcast by Swiss-Italian television. Özkök made several trips to l'Isle-surla-Sorgue during the following years, as the friendship developed between the two. The last visit was made in July 1987, shortly before the death of Char. Özkök is the photographer behind several of the wide-spread portraits of Char, who refers to a photo by Özkök in one of the letters, saying that he wishes to be remembered exactly the way he appears on that photo. A full listing will be sent upon request.