Catherine de Smet and Sara De Bondt (eds.):

London, Collins, 1964. Original full cloth, no dustjacket. 381 pp. A sticker to inner cover, else clean. First British edition.

Strubes Forlag, 1988 (1981). Hardcover. 344 sider. Omslag med lidt brugsspor. Richard Wilhelms udgave på dansk.

Edition After Hand, 1973. 8vo in printed illustrated wraps as issued. (52) pp. Illustrated throughout. Cover discolored with some foxing. First edition. Rare concrete poetry item.

Moderna Museet, 1969 (1968). 4to. Original wrappers as issued. (638 pp.). Illustrated throughout with photos by Billy Name and Stephen Eric Shore among others. Very worn copy but complete. First edition, second printing, acceptable reference copy of the famous Warhol Stockholm-catalog - this most iconic of artists books. The catalogue for Warhol's first major European retrospective. Illustrated card covers, with a design after Warhol's 'Flowers' silk-screen. 614 black-and-white reproductions, divided into three sections: black-and-white reproductions of Warhol's work, followed by two sections of photographs of Warhol and his associates by Billy Name and Stephen Shore. "“As soon as the Factory opened, it became a hyperactive place. People began flocking there in droves for parties, to interview Andy, to take pictures, to make films, to become a part of it... Billy [Name] ran it like a theatre, vacuuming up after each performance and continually repainting the tinfoiling. He also became the Factory’s official recorder when Andy gave him his 35-mm camera and Billy began taking great photographs of the action, which he developed in an impromptu darkroom converted from one of the toilets. These photographs, as collected in the 1968 Moderna Muséet catalogue of Warhol’s first European retrospective in Stockholm, constitute the best visual documentary of the Silver Factory.” -Voctor Bockris, Warhol: The Biography. Warhol’s Moderna Muséet catalog “is a fine example of the catalogue-as-artist's-book, a form that ostensibly began with the Dadaists and Surrealists, and is produced with some of the roughest reproductions ever seen, which are entirely appropriate, and supplemented by a long section of Factory snapshots by Billy Name. The genre was revitalized by the Pop movement, and Warhol in particular, which demonstrates his position as a latter-day Dadaist. The Moderna Museet publication especially had a great influence upon Japanese photography in the late 1960s and 1970s, particularly the photobooks of the Provoke era” (Parr and Badger, Vol II). Published first by Moderna Muséet, Sweden, in 1968 as an exhibition catalogue for the show "Andy Warhol" at the Moderna Muséet in Stockholm, February - March, 1968, this the second printing, identical to the first.

Oxford University Press, 2007. Hardcover, w jacket. VIII, 268 pp. With illustrations. Fine clean copy. 1st edition.

Copenhagen: SMK - 2013. 8vo in stapled wraps as issued. 30 pages. Text in English and Danish. Illustrated. Fine copy. 1. ed. "What are quirky salt and pepper shakers doing next to some of the main masterpieces of art history? Haim Steinbach is deeply interested in objects and how they are displayed. In this exhibition he challenged our perception of the art museum as an institution by showing important works of art side by side with small everyday objects. In his works Haim Steinbach arranges objects from all sorts of contexts on shelves and walls and in display units. In fact we all collect things and place them next to each other – on a windowsill, the kitchen worktop, or a bathroom shelf. On a previous occasion Steinbach has explained that he regards the act of collecting and displaying things as a fundamental human practice: With my work, the bottom line is that any time you set an object next to another object you´re involved in a communicative, social activity. Haim Steinbach includes works of art from different eras and genres in his exhibition, presenting them in a way that is completely different from the usual approach taken by museums, which typically display art in accordance with chronological, thematic, or monographic principles. By making a break with those principles Steinbach creates a whole new contex".