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Torino: Artissima 3 - 5 Nov. 2017
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ephemera: amtmann > van der leckl
amtmann
 

001.

Siegfried Amtmann – Wilfried Skreiner (text)

Jalousien u. a. (Multiple)

 

Graz: Neue Galerie am Landesmuseum Joanneum, 1971. Transparent silk screened pouch- with text by Wilfired Skreiner - containing one transparent silk screened  sheet  + one folded piece of yellow pvc. Multipled published on the occasion of an exhibition held from October 10 – December 31, 1971. multiple siegfried amtmann tasche pooldesign karl neubacher. Small tear to pouch + small tear to insertes sheet.

euro 180

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002.

Giovanni Anselmo,

anselmo

 

Invitation card (21,6 x 15,4 cm) for Giovanni Anselmo's exhibition in the Galleria Toselli, Milano. Opening october 20, 1970.

euro 80

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003.

Giovanni Anselmo,

anselmo

 

Invitation card /(14,6 x 10,4 cm) for Giovanni Anselmo's exhibition Richtungen.held in the Kabinett für Aktuelle Kunst in Bremerhaven, from 30.4 - 29.5 1977. Photograph taken by Paolo Mussat Sartor.

euro 30

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barbieri
 

004.

Eugenio Barbieri.

Caoutchouc d’invitation - Galerie Stadler - 1974.

"Eugenio Barbieri est un artiste hors-série, hors-mesure, hors-étiquette. Comme tous les artistes qui ont lié leur destin aux possibilités expressives d’une seule matière, il persévère dans son être, dans sa voie marginale, exclusive, exigeante.

La matière d’élection de Barbieri est le caoutchouc, qu’il utilise depuis des années avec une fidélité sans faille (s’il lui arrive de se servir du tissu plastique mou, c’est en raison d’analogies spécifiques évidentes avec le caoutchouc). Il en connaît parfaitement le registre expressif, à la manière d’un tailleur qui serait styliste, scénographe, metteur en scène, sculpteur. La flexibilité du matériau se prête particulièrement à la découpe et plus encore à la métamorphose continue de l’image. Taillée dans le caoutchouc, accrochée à des fils comme des marionnettes, animée mécaniquement l’image de Barbieri est toujours changeante. Aguichante, elle provoque l’intervention du spectateur qui la libère de son inertie. Au repos molle et tassée, elle semble "abstraite". Quand cet étrange pantin s’anime son langage anthropomorphique s’enrichit d’une gamme infinie d’évocations figuratives. C’est ce processus essentiel des "mutables" que Barbieri a synthétisé dans une formule significative : "un carré devient homme" (un quadrato diventa uomo), qui a servi de titre à sa dernière exposition en novembre 1973 à la Galleria Vismara de Milan.

....

Derrière la côté purement formel de l’attitude transparaît tout l’univers psychologique des motivations sous-jacentes : le mouvement devient geste, le geste image, l’image symbole. C’est l’immanence de ce cheminement que Barbieri a voulu traduire dans le titre qu’il a donné à son exposition parisienne de la galerie Stadler (février 1974) : du zéro à l’infini. La progression illimitée des associations visuelles est incarnée par les deux positions extrêmes de la chambre à air d’un pneu d’automobile. Gonflé, l’objet circulaire figure le zéro. Dégonflé et plié en forme de huit renversé il figure le signe mathématique de l’infini. A partir du modèle courant de la chambre à air de la 2 CV Citroën, Barbieri vient de réaliser à Paris un multiple "Michelin" qui incarne parfaitement la véritable envergure de sa recherche de langage."

Pierre Restany 1974.

euro 400

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005.

Guido Biasi

biasi

Paris: Galerie de Bellechasse, 1975. Quarto, 4 pages, 4 illustrations. Printed wrappers.

- First edition. Exposition 28 mai - 30 juin 1975. Gérald Gassiot-Talabot (text)

euro 40

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006.

Brancusi - Paul Morand (text)

brancusi

New York, The Brummer Gallery, 1926.

Small quarto size flyer, 6 pages (folded twice) in self wrappers with a 2 page text by Paul Morand (September, 1926), one page ‘Propos by Brancusi’ + a list of the 37 exhibited works (+ five bases, a painting and 26 ‘studies’).

- First edition. Exhibited were ‘Bird in Space’ (in marble + one in yellow marble). Mlle. Pogany (polished bronze + one in marble), the Kiss (in stone) The New York branch of the Brummer Gallery was opened in 1914 by Imre and Joseph Brummer. Joseph and his brothers Ernest were among the most significant art dealers of the first half of the 20th century, dealing in a broad range of art that spanned from classical antiquity to modern art.[1] Their collection included many works from the Middle Ages, Pre-Columbian America, and Renaissance and Baroque decorative arts.[2] Following Joseph Brummer's death in 1947, the gallery closed down in 1949, and its collection was auctioned off over the next three decades.

euro 180

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007.

Cesar

a la defense compressions de papier

cesar

Announcement for an exhibition organized by: L'etablissement public pour L'aménagement de la Région Défense (EPAD), la Galerie Beaubourg et le groupe Soulier-La Rochette.

Exhibition from june 20 september 5, 1990.

euro 80

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008.

Clavin, Hans - G.J. de Rook - Herman Damen - Robert Joseph.

Poster (49 x 30,8 cm unfolded) + invitation for an exhibition - visual poetry - organized by the foundation Felison and held in 'het buiten Beeckestijn' in Velzen (the Netherlands).

clavin

- First edition. Opening of the exhibition on january 25, 1974. Poster design by Siem Schaafsma.

euro 80

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depero
 

009.

Depero, Fortunato.

Onomalingua

Loose insert (24,3 x 28,1 cm) from Depero’s "libro imbullonato" , 1927.

Onomalingua: Voce inventata da Fortunato Depero, da un suo manifesto del 1916: “Verbalizzazione astratta, è derivata dalla onomatopea, dal rumorismo, dalla brutalità delle parole in libertà futuriste. È il linguaggio delle forze naturali: vento-pioggia-mare-fiume-ruscello ecc. e degli esseri artificiali rumoreggianti creati dagli uomini: biciclette, tram, treni, automobili e tutte le macchine, è l’assieme delle emozioni e delle sensazioni espresse con il linguaggio più rudimentale e più efficace… Nei monologhi dei clowns e dei comici di varietà vi sono tipici accenni all’onomalingua… con l’onomalingua si può parlare e intendersi efficacemente con gli elementi dell’universo, con gli animali e con le macchine. L’onomalingua è un linguaggio poetico di comprensione universale per il quale non sono necessari traduttori”. Vedi anche: lingua immaginaria, grammelot, glossolalìa.

euro 260

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010.

John Cage.

Alla ricerca del silenzio perduto.

cage treno

Original magnetic audio tape that was mounted on the front cover of 'Il Treno di John Cage', published Bologna: Grafis edizioni d’arte, 1979.

euro 100

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011.

Heinz Dunkelgod

Dunkelgod's Fummelobjekt.

dunkelgod

 

inflatable coat hanger by Heinz Dunkelgod published on the occasion of the exhibition 'Ars Pneumatica' held in Galerie Kümmel (Cologne) from september 10 - october 6, 1970.

euro 200

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earthworks
 

012.

Carl Andre, Konrad Bayer, Walter de Maria, Michael Heizer, Robert Morris, Claes Oldenburg, Dennis Oppenheim, Sol LeWitt, Robert Smithson, Stephen Kaltenbach.

EARTH WORKS

New York : Dwan Gallery, 1968.

E xhibition announcement (22.8 x 31.1 cm) published on the occasion of an exhibition that opened October 5, 1968. Heavy-stock cardboard flocked with sand: "EARTHWORKS / DWAN NEW YORK OCTOBER 5, 1968". Minor bump to bottom right corner, otherwis a fine copy of this fragile item.

sold

 

013.

Ernst, Max.

Le néant et son double.

ernst

Paris: Galerie Alexandre Iolas, 1968. Folded invitation card (25 x 16,5 cm un folded) for the exhibition held from january 30 - february 24, 1968 in Iolas' Parisan Gallery, Boulevard St. Germain. Printed on both sides.

euro 40

 

014.

Lucio Fontana.

fontana

Lucio Fontana. mostra n. 9.

Milano: De Nieubourg Galleria, 1968

Folded invitation card (21 x 7,5 cm folded / 21 x 29,5 unfolded) for the exhibition in the Nieubourg gallery from october 18 – november 6, 1968 .Presenza di Lucio Fontana.Front of invitation card slightly foxed.

Opere scelte nelle collezioni Ardemagni, Borghi Quercioli, Conti Rovescali, Denti, Gaslini, Laurini, Magliano and Spaggiari. Allestimento di Nanda Vigo.

euro 120

 

015.

Fred Forest.

forest

Announcement (28,2 x 20 cm un folded) for 'Installation et Animation Vidéo Rencontre avec Fred Forest Musée Cantonal des Beaux-Arts Lausanne 12/26 Novembre 1972'

À l’invitation de René Berger qui suit et encourage sa pratique de vidéo-art depuis les années 70, Fred Forest intervient dans le musée en même temps qu’il réalise une expérience interactive avec les lecteurs de TRIBUNE MATIN dont les réponses seront exposées dans les salles du musée. À cette action, l’artiste réalise également une animation vidéo interactive sous forme d’une installation à laquelle sont confrontés les visiteurs du musée. Il fera intervenir dans ce dispositif une fanfare campagnarde du Valais et organisera une tombola publique dans le musée à la plus grande réprobation des milieux bourgeois du canton dont des personnalités locales sont les… administrateurs du Musée Cantonal des Beaux-Arts de Lausanne.

euro 60

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breuerbreuer retro
 

016.

Gavina, Dino - Marcel Breuer, - Enno Lucini ?(design)

Marcel Breuer 1924 Gavina 1962.

N.p.: self published, n.d. Folded publicity poster (24 x 23 cm folded + 67,5 x 48 cm un folded), printed in black, brown and ochre.

- First edition. Gavina launched in 1962 the production of Breuer’s ‘B 3” and baptized the chair as the “Wassily,” as it is popularly known today. This poster was part of the publicity  that launched Breuer’s most famous furniture pieces: the Wassily chair, Canaan A, Canaan B, Cesca A, Cesca B, Cesca imbottita A e B, Laccio 1924 A and Laccia 1924 B + Reclining.

euro 300

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lepo2
 

017.

Gavina, Dino / Simon International.

Ultramobile.

Bologna: self published, [1972].

A 22 page leporello (9 x 17 cm unopened – 9 x 98 cm opened), illustrated throughout.

- First edition. Catalogue of the ‘Ultramobile’ (adaptations of surreal, functional works of art for the daily use in the home interiors) presented by Simon International, a company founded in 1968 by Dino Gavina. In this catalogue the ‘ultramobili’ by: Sebastian Matta – MAgriTTA 1937/1970; Meret Oppenheim – Traccia 1936/1972; Sebastian Matta – Margarita 1970; Marion Baruch – K. Lorenz 1972; Sebastian Matta – Saccoalato 1970; Marion Baruch Ron Ron 1972; Novello Finotti – Fausto 1972; Man Ray – Le Témoin 1971; Man Ray – Les Grands Trans-Parents 1948/1972; René Magritte - Valori personali 1952; Francois Lalanne – Les Moutons 1966; Sebastian Matta – Essendo con 1946; Meret Oppenheim – Obstruction 1920; Marion Finotti – Dopo il ‘Silenzio’, 1972; Man Ray – A l’Heure de l’Observatoire – Les Amoureux 1932.

Added: One color postcard illustrating the ‘ultramobile’. The rear of the postcard prints: Con Marcel Breuer la CULTURA entra nella produzione di mobile in serie. Con ULTRAMOBILI entra la POESIA.

postc

Added furthermore: the original poster (67 x 98 cm unfolded) for the ‘Ultramobile’ campaign. The poster prints: Com Marcel Breuer la ultura entra nella produzione dei mobile dei serie con ultramobile entre la poesia. Poster somelight foxing on the exposed side, otherwise near fine.

poster

euro 550

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018.

Gavina, Dino.

gavina paradiso

Simongavina. Paradiso Terrestre.

Bologna / San Lazarro: Self published, [1983].

Quarto, 8 pages. Illustrated throughout. Illustrated wrappers.

- First edition. One double page illustrating Goethe’s monument: ‘Stein des guten Glücks’ with text by Manlio Brusatin. + one illustration of ‘L’Albero del bene’ by Manlio Brusati + one page with ‘Primi modelli in produzione’ presenting garden sculptures + furniture by Carlo Scarpa, Manlio Brusatin, Ennio Chiggio, Marcel Breuer, Kazuhide Takahama, Luigi Caccia Dminioni, Andrea Pardini, Alan Irvine and Virgilio Vercelloni.

euro 120

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019.

Ad Gerritsen

Criminals.gerritsen

 

Uit de serie 'Criminals'. Copyright: Brummense uitgeverij van luxe werkjes, 1974. Printed manila envelope containing five postcars, each printed on the rear.

euro 40

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020.

Gerz, Jochen - Maurizio Nannucci.

Play-Texts # 1

gerz

Paris: Agentzia, 1968.

Transparent, printed and sealed (27,3 x 21,8 cm) sleeve containing loose black plastic letters.

Printed text:

Der einzelne Reiter aus Kamelspuren aus einem Bündel Spuren das sich ertränkt hat das sich ertränkt und dann auseiner Spur die sich nicht aufhört zu ertränken zu nähern mit ihrem allmählichen Eintauchen der einzelne Reiter aus Handelskarawanen oder aus nomadischen Reitern aus Spuren aus Sandflechten die sich um die Fesseln einbrechender Sandspuren legen der einzelne Reiter aus schwankendem Sand aus Wellen voll Sand und dann aus einzelnen Körnern Kristallen Staub Wind Licht der einzelne Reiter aus Sand aus flachem ertrinkendem Licht und aus Schollen auf der Oase eines Gelenks aus welchem Reiter und dann aus welchem Sandschnitt der sich nicht aufhört zu füllen mit Sand"

euro 120

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021.

Gerz, Jochen - Maurizio Nannucci.

Play-Texts # 2

gerz

Paris: Agentzia, 1968.

Transparent, printed and sealed (22,3 x 22 cm) sleeve containing circular die cut piece of paper, printed in yellow ( bred, off, breath, flies, time, black white, wright ...) + black plastic letters.

euro 120

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022.

Paul Armand Gette,

Frohe Weihnachten....

p.a. gette

Paris: janvier 1984. White envelope that contains 2 printed cards, one with a text by P.A. Gette, 'Introduction au toucher du Modele and the other card an invitation by Janine Landais with an invitation for the introduction of Gette's 'Inntroduction au toucher du Modele', taking place on january 13 1984 in the 'librairie Arts-Cataalogue'. The envelope contains furthermore a colored postcard printed on two sides with an image of Paul-Armand Gette, published by Hans Ulrich Obrist and Eva Maria Presenhuber.

euro 25

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023.

Jean Le Gac.

legac

poster 'la voiture du peintre' (68,5 x 43,5 unfolded) published on the occasion of an exhibition in the 'Renzo Spagnoli Galleria d'Arte', Florence, 1977.

euro 120

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024.

Sol Lewitt.

Sol Lewitt / Wall drawings.

lewitt

Invitation card (26,6 x 25,3 cm) for the exhibition in the Pace Wildenstein Gallery from January 29 – March 12, 1994. The card illustrates ‘Forms derived from a cube (25 variation), March 1989. Invitation signed on the rear by Sol Lewitt.

euro 200

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025.

Heinz Mack,

mack

Düsseldorf: Galerie Schmela. 1960. Printed invitation card (21 x 15 cm) for exhibition opening on November 1960.

euro 30

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mack DR
 

026.

Heinz Mack.

Exhibition announcement

for an exhibition held from April 21 - Mai 20, 1972 In der Galerie Denise Rene Hans Mayer, Dusseldorf. The announcement is kept in a plastic pouch (22 x 27 cm) filled with very fine white sand.

euro 180

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027.

Man Ray,

Folded invitation card (24 x 33,8 unfolded) Text in Italian, French and English.

man ray

euro 30

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028.

Ragghianti, Carlo L. (introduction)

Enzo Mari. Ricerche visive, strutture, design.

 

mari

Firenze: La Strozzina, Palazzo Strozzi, 1962.

Small square octavo, 12 pages, 3 color plates + 11 illustrations in black and white. Printed white wrappers. Wrappers slightly soiled + MOMA library stamp on front cover.

- First edition.

euro 60

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029.

Enzo Mari - Max Bill + Matko Meštrović (teksts)

Enzo Mari. vizualna istraživanja strukture design.

mari

Zagreb: Muzej za umjetnost i obrt,1962. Small quarto, 16 pages, 9 illustrations. Illustrated wrappers.

- First edition. Exhibition from 19.X - 4 .XI, 1962.

euro 180

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030.

Fabio Mauri.

mauri

Fabio Mauri. "I cinema" Sculture a luce solida. mostra n. 10.

Milano: De Nieubourg Galleria, 1968

Folded invitation card (21 x 7,5 cm folded / 21 x 29,5 unfolded) for the exhibition in the Nieubourg Gallery from 7-30 november, 1968.

euro 80

 

031.

Duane Michals,

Duane Michals (1939-1997) A film by:

duane

Ed Howard and Theodore R. Haimes. Executive Producers: Sydie Lansing and Gerrit Lansing. 16 mm, Black and White 14 minutes. Available for Purchase or Rental (Film or Videotape) with round red stamp of the Suydam Productions. Publicity card (20,4 x 20,4 cm)'A film on Duane Michals', printed on heavy stock.

euro 30

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032.

Jaques Monory

monory

 

Accordeon folded original silk screen print (21 x 11 folded/ 21 x 43 cm un folded). Signed in print by Monory.

One of 150 copies that were part of Nr. 2. ‘La Mort sans Phrase’ of ‘Les Cahiers Noirs du Soleil’, 1968.

euro 160

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033.

Munari, Bruno.

munarifillermunari

2 pair of paper glasses (Occhiali paraluce )(4 x 13,8 cm folded / 4 x 39,5 cm un folded) published by Arte grafiche Lucini and designed by Bruno Munari' . The glasse are made of cardboard and the center part has two horizontal slits ofìver the center part. The 'glasses' are identically produced. The green pair has the text 'I have seen the exposition of Bruno Munari' in English, French, Italian and Japanese, while the blue pair has the text only in italian 'Ho visto i 90 anni di Bruno Munari' + 'Triennale di Milano - 24 Ottobre 1997.' The 'green' glasses might go back to the mid eighties, when Munari organized 'Il Castello dei Bambini' a Tokyo.

euro 100

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034.

Giulio Paolini.

2121969

paolini

Invitation card (16,5 x 12,9 cm) for an exhibition in the Galleria De Nieubourg. Milano. Opening friday febrary 21, 1969.

euro 40

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035.

Pavlos.

Natures mortes. Stilleben.

pavlos

Anläßlich des 7. Kölner Kunstmarkets zeigen wir.... Köln: Galerie der Spiegel, 1973. Duodecimo with at the inside colored pages cut out in the shape of a drinking glass.

This is the invitation for the opening on september 28. 1973.

euro 25

 

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036.

Pipilotti Rist.

Pipilotti Rist 54

Utrecht: Centraal Museum, 2001.

Creditcard size CD-ROM published in conjunction with exhibition "Pipilotti Rist 54". Music composed by Rist and performed with Anders Guggisberg and Roli Widmer. Video Length: 5:04

- First edition.  The CD-ROM contains a video/music work by Rist, specially made for this CD-ROM.

euro 100

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037.

Andre Thomkins.

Zahnschutz Gegen Gummiparagraphen

thomkins

euro 80

Remscheid : Vice-Versand, 1968. a rectangular piece of rubber (11.5 x 5.5 cm) printed with title + three attached rubberbands. Signed and dated Andre Thomkins. Orignal box missing.

 

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038.

Timm Ulrichs.

- das erste lebende kunstwerk – (kunst ist leben, leben ist kunst )

ultichs

frankfurt: galerie patio, 1966. 2 page stapled and mimeographed flyer announcing Ulrichs' first exhibition as ‘living artwork'. The first page shows his nombril (photograph by riebesehl) and the second page is an attached Leichenschauschein (auch fur totgeborene) where Ulrichs typed his name, sex, place and date of birth. At the bottom of this form wrote Ulrichs (typewritten) “timm ulrichs' leichen-schau: letzte totalkunstdemonstration / die fehlende daten sind zu gegebener zeit nachzutragen.” Top of both pages slightly wrinkled.

- First edition of this flyer that announced Ulrichs' exhibition from1. – 5. Juni 1966.

euro 80

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039.

Timm Ulrichs.

 

Ich bin ein gedicht. (erstes lebendes kunstwerk/totalkunstbetrieb.) ‘3. Egozentrisch-monomanisches manifest'  

ulrichs

 

 

 

 

 

 

 

 

 

 

 

Wien: Werkstatt, Verein zur Förderung moderner Kunst, 1968. Small sized poster (41,8 x 29,8). Photograph by Heinrich Riebesehl.

- First edition. The second manifest “Ich als Kunstfigur oder: Was das ganze Theater soll (2. egozentrisches Manifest) was published in Magazin Kunst, 1969.

euro 80

 

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040.

Bart van der Leck.

vdleck

Original cardboard box (47 x 47 cm) with silk screened logo designed by Bart van der Leck for the Dutch department store Metz & Co. Bart van der Leck was commisioned in the early thirties to design interiors, window packaging, branding and advertising for this luxury department store.

euro 300

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ephemera: amtmann > van der leckl
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