2 443 résultats
réf. 8078Many black & white illus. Two large folded sheets 299 x 212 mm. folded unbound. Purmerend: Museum Waterland 1981. An uncommon exhibition flyer for a display of bookworks at the Museum Waterland co-curated by Ulises Carrión and Juan J. Agius. Both featured their own works along with those of François Bouillon Axel Heibel Diderick van Kleef Federico Sanguinetti Ben Sleeuwenhoek Ad Gerritsen J. H. Kocman Tom Ockerse Gèza Perneczky and Pawel Petasz. Several examples of each artist’s work are pictured. All the works displayed were drawn from Agius’s and Carrión’s personal collections. This catalogue’s text written by Alex A. M. de Vries is in parallel Dutch and English. De Vries pointedly notes “Two book-artists curated and arranged this exhibition in such a way that you will not see much of the usual mania for conservation which is being practised in most of the musea. This means that you will be able to take the books in your hands…This exhibition proves that artists’ books deserve to be shown more often and on large scale. And in an adequate way. The actual treatment like that of conservators in musea who like to take care of books as if they were dealing with radio-active material does not satisfy. A book ought to be in the hand of the reader.” Fine and fresh copy. ⧠U. Carrión Quant aux Livres 2008 p. 210. unknown
réf. 8078Many black & white illus. Two large folded sheets 299 x 212 mm. folded unbound. Purmerend: Museum Waterland 1981. An uncommon exhibition flyer for a display of bookworks at the Museum Waterland co-curated by Ulises Carrión and Juan J. Agius. Both featured their own works along with those of François Bouillon Axel Heibel Diderick van Kleef Federico Sanguinetti Ben Sleeuwenhoek Ad Gerritsen J. H. Kocman Tom Ockerse Gèza Perneczky and Pawel Petasz. Several examples of each artist’s work are pictured. All the works displayed were drawn from Agius’s and Carrión’s personal collections. This catalogue’s text written by Alex A. M. de Vries is in parallel Dutch and English. De Vries pointedly notes “Two book-artists curated and arranged this exhibition in such a way that you will not see much of the usual mania for conservation which is being practised in most of the musea. This means that you will be able to take the books in your hands…This exhibition proves that artists’ books deserve to be shown more often and on large scale. And in an adequate way. The actual treatment like that of conservators in musea who like to take care of books as if they were dealing with radio-active material does not satisfy. A book ought to be in the hand of the reader.” Fine and fresh copy. ⧠U. Carrión Quant aux Livres 2008 p. 210. unknown books
réf. 9558Illus. throughout. 4 printed sheets orig. craft paper wrappers staple-bound. Hou Denmark: Egmont Højskolen Feb. 1979. A scarce exhibition catalogue dedicated to books with rubber-stamped illustrations curated by Ulises Carrión 1941-89. His introduction is printed in Danish and English: “Time pressures didn’t allow for a wide research but I believe that the show includes most if not all the significant artists in this field. Some available catalogues and anthologies have been included because they possess a reasonable coherence in character theme or intentions. These criteria rather than dictionary definitions were also applied when deciding what was to be considered as being ‘a book.’ The show includes quite a number of unbound works; in all cases however they consist of a series of loose works that have been put between the same covers and under a common name. Many of the included items were lent by Aart van Barneveld from the Stempelpaats in Amsterdam.” The exhibition featured the works of Anna Banana Luciano Bartolini Peter van Beveren Cozette de Charmoy Robert Jacks Ray di Palma Pawel Petasz Dieter Roth Ruedi Schill Gabor Toth Dick Walraven etc. A few of the pieces are illustrated. In fine condition. With the stamps of Niels Lomholt’s Lomholt Formular Press and the Other Books and So Archive on the verso of the first leaf. unknown books
1981réf. L621Greece: Denise Harvey & Company 1981. Hardcover. First Edition First Printing. 5.25 x 7.75in. x. 202pp. Bound with the original wraps in full calf with hand tooled ruling gilt titling and decoration in emulation of Lawrence Durrell's titular quote 'You enter Greece as one might enter a dark crystal.' Signed by the master Athenian bookbinder Andreas Ganiaris. Marbled endpapers. NEAR FINE in Fine textured slipcase. Spine ever so lightly tanned. As pictured. Denise Harvey & Company hardcover
réf. 9951GRANT Ulysses S. Personal Memoirs. N.Y. 1885-86. Two vols. Illus. Some soiling else a very good set in orig. cloth. unknown
1870réf. 603639not signed on a 3/4 length shot of U.S. Grant dressed in a dark suit vest silk bow tie and white shirt. Photograph is on the original stiff bevelled edged photographer's mount with imprint of A. Bogardus 872 Broadway N.Y. 4 1/4" x 6 5/8"; good; circa 1870. Imprint on the back obscured by previous mounting. No Binding.
1870réf. 603639not signed on a 3/4 length shot of U.S. Grant dressed in a dark suit vest silk bow tie and white shirt. Photograph is on the original stiff bevelled edged photographer's mount with imprint of A. Bogardus 872 Broadway N.Y. 4 1/4" x 6 5/8"; good; circa 1870. Imprint on the back obscured by previous mounting. No Binding. books
2003réf. BN155401comedia-Verlag 2003. 2003. Hardcover. Das trikontinentale Solidaritätsplakat Deutsch Spanisch Englisch Französisch Das trikontinentale Solidaritätsplakat Deutsch Spanisch Englisch Französisch Richard Frick Texte: Ulises Estrada Lescaille Nirta Muniz Reinaldo Morales Campos Jorge R. Bermúdez Alfredo G. Rostgaard Olivio Martinez Lázaro Abreu Padrón René Lechleiter comedia-Verlag hardcover
réf. 1059491 feuillet 210 X 297 mm. illustré au recto et une enveloppe 300 X 112 mm. illustrée du même dessin.Reina Sofia 2016 pages 204 et 205 ; Schraenen 1992 page 48.
réf. BN104769Guides de voyage Ulysse. Softcover. Chili Chili Guides de voyage Ulysse paperback
1985réf. 1901201173Helsinki: Eurographica 1985. 1st Edition 1st Printing. Soft cover. Fine/Fine. A signed numbered copy of Six and One Remorses for the Sky by Nobel Laureate Odysseus Elytis one of 350 copies signed at the title page. Published as the first title in Rolando Pieraccini's acclaimed Contemporary Poets in Signed Limited Editions series issued in the 1980s and 90s by his Finnish publishing company Eurographica. Printed in Italy by Tipografia Nobili established Pesaro 1823 on special Michelangelo Paper made at the Magnani Paper Mills in Pescia. Plain white stiff card wrappers enclosed in a grey dustwrapper with black titles deckled top edge and large folds. 50 pages with two facsimiles of manuscript poems at the rear. Fine unread condition. Scarce thus. Eurographica paperback
réf. 12183Collection complète, du n° 1 (Hiver 1973) au n° 23-24 (Printemps 1981). 24 numéros en 20 livraisons. Ensemble en bon état. /// Textes et illustrations de : Anne-Marie Albiach, Pierre Alechinsky, Antonin Artaud, Geneviève Asse, Paul Auster, Yves Bonnefoy, William Blake, Georges Braque, René Char, Eduardo Chillida, Jean Daive, René Daumal, André du Bouchet, Philippe Denis, Jacques Dupin, Odysseus Elytis, Claude Esteban, Claude Garache, Lorand Gaspar, Juan Gris, Martin Heidegger, George Henein, Emmanuel Hocquard, Vladimir Holan, Philippe Jaccottet, Roger Laporte, Michel Leiris, Ossip Mandelstam, Henri Michaux, Joan Miró, Eugenio Montale, Roger Munier, Bernard Noël, Boris Pasternak, Octavio Paz, Fernando Pessoa, Pascal Quignard, Charles Racine, Pierre Reverdy, Claude Royet-Journoud, Joseph Sima, Pierre Soulages, Arpad Szenes, Pierre Tal Coat, Antoni Tàpies, Dylan Thomas, Pierre Torreilles, Viera da Silva, Raoul Ubac, Robert Walser, etc.
réf. 8079Coated paper with black & white illus. Assen Netherlands: 1982. The rare promotional poster for one of Ulises Carrión’s experimental public installations; the present copy is in particularly fine condition and has not been folded or creased. Entitled The Robbery of the Year this exhibition was designed by the artist as a test of visitors’ self-restraint. A large diamond was placed on a cushion without any enclosure but with a single spotlight trained on it in an otherwise dark room. Visitors were invited to enter the room while a photographer took pictures of the space and the visitors. An expected theft failed to transpire and near the end of the exhibition the photographer was withdrawn. Soon thereafter the diamond disappeared. “De Diefstal van het Jaar was an exhibition of a diamond in which visitors are surreptitiously invited to steal the stone raising interesting questions about viewing and stealing a precious object worthy of public exhibition and evoking images associated with museum heists with subsequent analysis on issues such as the value and ownership of objects on display.”–Guy Schraenen ed. Dear reader. Don’t read. 2016 pp. 44 & 164 pictured. On his series of public experiments Carrión is quoted as saying: “In my work I use all kinds of materials objects processes and people as formal elements. The final result is only partially determined in advance and the process that leads to that point is influenced by all the factors mentioned above. It is a game without fixed rules and with no winners or losers.”–Guy Schraenen ed. “We have won! Haven’t we” 1992 p. 69. In excellent condition. unknown
réf. 8080Single A4 sheet printed on both sides illus. on recto. Amsterdam: 1982. Rare flyer for the lone film made by Ulises Carrión 1941-89. In the years after the closing of Other Books and So the artist focused much of his efforts on video works eventually founding Time Based Arts a gallery dedicated to supporting video artists. On the verso Carrión describes the film which was “originally produced for the International Media Meeting organized by the Agora Foundation in Maastricht from 19 to 25 April 1982.” “Ever since his participation in the activities of the In-Out Center Carrión along with other Amsterdam artists shared an increasing interest in the possibility of film and video to document their numerous ephemeral activities and to work with the question of time…Carrión found in the language of film a support for his questioning of narrative widening the possibilities beyond what was previously limited to literature…In his only film the record of a performance The Death of the Art Dealer 1982 Carrión transfers into performance and film the type of processes he had applied to the literary text. Holding a small television set showing a 1940s film by Max Ophuls Carrión moves to the right or left to the rhythm of the movements of the characters in the film. The soundtrack is that of the original film but the narrative itself is ignored. Instead what one observes is a fairly unnoticed and typically forgettable structural aspect. In a way Carrión’s movements are like the parentheses and punctuation marks that he had previously used to strikethrough text in his pieces on certain literary works.”–Joao Fernandes “Art as Subversion: Make and Remake to Make Anew” in Dear reader. Don’t read. p. 45. Pristine copy. ⧠Guy Schraenen ed. Dear reader. Don’t read. 2016 pp. 128 130-31 pictured. unknown
réf. 7894Unpaginated. Square 4to 247 x 204 mm. printed covers with flaps as issued. Mexico City: Taller Ditoria 2007. First printed edition of Ulises Carrión's typewritten manuscript of the same name. Carrión 1941-89 added handwritten punctuation to this work but it was never realized during his lifetime. Entirely letterpress-printed this book is now scarce on the market. It was co-produced by Martha Hellión one of the founders of Beau Geste Press. Near fine. This is a beautifully designed book printed on several special papers from a numbered edition of 600. ⧠Juan J. Agius & Ricardo Ocampo eds. Ulises Carrión: Books & More Catalogue Raisonné 2013 pp. 78-79 pictured. Guy Schraenen ed. Dear reader. Don't read. 2016 p. 84. unknown
réf. 8079Coated paper with black & white illus. Assen Netherlands: 1982. The rare promotional poster for one of Ulises Carrión’s experimental public installations; the present copy is in particularly fine condition and has not been folded or creased. Entitled The Robbery of the Year this exhibition was designed by the artist as a test of visitors’ self-restraint. A large diamond was placed on a cushion without any enclosure but with a single spotlight trained on it in an otherwise dark room. Visitors were invited to enter the room while a photographer took pictures of the space and the visitors. An expected theft failed to transpire and near the end of the exhibition the photographer was withdrawn. Soon thereafter the diamond disappeared. “De Diefstal van het Jaar was an exhibition of a diamond in which visitors are surreptitiously invited to steal the stone raising interesting questions about viewing and stealing a precious object worthy of public exhibition and evoking images associated with museum heists with subsequent analysis on issues such as the value and ownership of objects on display.”–Guy Schraenen ed. Dear reader. Don’t read. 2016 pp. 44 & 164 pictured. On his series of public experiments Carrión is quoted as saying: “In my work I use all kinds of materials objects processes and people as formal elements. The final result is only partially determined in advance and the process that leads to that point is influenced by all the factors mentioned above. It is a game without fixed rules and with no winners or losers.”–Guy Schraenen ed. “We have won! Haven’t we” 1992 p. 69. In excellent condition. unknown books
réf. 8080Single A4 sheet printed on both sides illus. on recto. Amsterdam: 1982. Rare flyer for the lone film made by Ulises Carrión 1941-89. In the years after the closing of Other Books and So the artist focused much of his efforts on video works eventually founding Time Based Arts a gallery dedicated to supporting video artists. On the verso Carrión describes the film which was “originally produced for the International Media Meeting organized by the Agora Foundation in Maastricht from 19 to 25 April 1982.” “Ever since his participation in the activities of the In-Out Center Carrión along with other Amsterdam artists shared an increasing interest in the possibility of film and video to document their numerous ephemeral activities and to work with the question of time…Carrión found in the language of film a support for his questioning of narrative widening the possibilities beyond what was previously limited to literature…In his only film the record of a performance The Death of the Art Dealer 1982 Carrión transfers into performance and film the type of processes he had applied to the literary text. Holding a small television set showing a 1940s film by Max Ophuls Carrión moves to the right or left to the rhythm of the movements of the characters in the film. The soundtrack is that of the original film but the narrative itself is ignored. Instead what one observes is a fairly unnoticed and typically forgettable structural aspect. In a way Carrión’s movements are like the parentheses and punctuation marks that he had previously used to strikethrough text in his pieces on certain literary works.”–Joao Fernandes “Art as Subversion: Make and Remake to Make Anew” in Dear reader. Don’t read. p. 45. Pristine copy. ⧠Guy Schraenen ed. Dear reader. Don’t read. 2016 pp. 128 130-31 pictured. unknown books
réf. 7894Unpaginated. Square 4to 247 x 204 mm. printed covers with flaps as issued. Mexico City: Taller Ditoria 2007. First printed edition of Ulises Carrión's typewritten manuscript of the same name. Carrión 1941-89 added handwritten punctuation to this work but it was never realized during his lifetime. Entirely letterpress-printed this book is now scarce on the market. It was co-produced by Martha Hellión one of the founders of Beau Geste Press. Near fine. This is a beautifully designed book printed on several special papers from a numbered edition of 600. ⧠Juan J. Agius & Ricardo Ocampo eds. Ulises Carrión: Books & More Catalogue Raisonné 2013 pp. 78-79 pictured. Guy Schraenen ed. Dear reader. Don't read. 2016 p. 84. unknown books
réf. 46437Paris: Maeght éditeur. Directeur: Claude Esteban. 20 volumes 19x26cm, brochés sous couvertures illustrées par Raoul Ubac, illustrations en noir dans et hors texte. N°1 à 23/24, hiver 1973 - printemps-été 1981 : 24 numéros dont 4 doubles : 9/10, 13/14, 19/20 et 23/24). Importante revue de poésie lancée par Adrien Maeght après la disparition de L’Éphémère. Animée par Claude Esteban 9 ans durant, elle occupe une place majeure dans le paysage poétique de ces années-là, tant par le travail de traduction que par l’émergence d’une nouvelle génération de poètes.Contributions de Anne-Marie Albiach, Pierre Alechinsky, Antonin Artaud, Geneviève Asse, Paul Auster, Yves Bonnefoy, William Blake, Georges Braque, Pierre Chappuis, René Char, Eduardo Chillida, Jean Daive, René Daumal, André du Bouchet, Philippe Denis, Claude Dupin, Odysseus Elytis, Claude Esteban, Claude Garache, Lorand Gaspar, Juan Gris, Martin Heidegger, George Henein, Emmanuel Hocquard, Vladimir Holan, Philippe Jaccottet, Roger Laporte, Henri Lefebvre, Michel Leiris, Ossip Mandelstam, Henri Michaux, Juan Miro, Eugenio Montale, Roger Munier, Bernard Noël, Boris Pasternak, Octavio Paz, Fernando Pessoa, Pascal Quignard, Charles Racine, Alain-Christophe Restrat, Pierre Reverdy, Claude Royet-Journoud, Jean-Luc Sarré, Joseph Sima, Pierre Soulages, Arpad Szenes, Pierre Tal Coat, Antoni Tàpies, Dylan Thomas, Pierre Torreilles, Viera da Silva, Raoul Ubac, Rosemarie Waldrop, Robert Walser, Louis Zukofsky, etc. - Ensemble en très bon état.
réf. 5677ULYSSES S. GRANT 1822-1885. Grant was the Eighteenth President and the head of the Union Army during the Civil War. A two volume first edition of Personal Memoirs of U.S. Grant. They are bound in green cloth and gilt stamped. The boards have minor wear and the corners are bumped. There are fold outs of Grant facsimile letters. The internal pages have slight foxing but are in fine condition. hardcover books
1924réf. 136209München. Bremer Presse 1924. 384 n. n. Seiten. Breitrandiger Druck auf Zanders Büttenpapier mit Wasserzeichen. Original-Karton-Einband mit Rückenschild im Originalschuber. (Einband vor allem am Rücken gebräunt. Schuber mit Gebrauchsspuren. Ansonsten gutes u. sauberes Exemplar). 36x23 cm
réf. 11039Printed on one side with ms. date: “1976.” Single leaf 208 x 150 mm. London: 1975. Invitation/announcement for the artist’s fourth solo show held at art meeting place in London. The show occurred in 1975 but on this copy the year has been written in as “1976.” The rest of the show’s details have been printed in breaks in the text from page 133 of H.G. Wells’s You Can’t Be Too Careful. In fine condition. ⧠Guy Schraenen ed. Dear reader. Don’t read. 2016 pp. 174 & 178 pictured. unknown
réf. 11039Printed on one side with ms. date: “1976.” Single leaf 208 x 150 mm. London: 1975. Invitation/announcement for the artist’s fourth solo show held at art meeting place in London. The show occurred in 1975 but on this copy the year has been written in as “1976.” The rest of the show’s details have been printed in breaks in the text from page 133 of H.G. Wells’s You Can’t Be Too Careful. In fine condition. ⧠Guy Schraenen ed. Dear reader. Don’t read. 2016 pp. 174 & 178 pictured. unknown books
1977réf. 30863Antwerpen: Guy Schraenen 1977. This copy fine. Scarce with a single OCLC record discovered. Audio cassette in original housing with stapled booklet 8 pages as liner. The first published collection of Ulises Carrión's conceptual audioworks; a number of which were created specifically for this Schraenen recording. As per the artist's statement printed to the liner: "Each piece is a series of vocal units that unfolds according to simple rules. Their beginning and end are arbitrary—they could go on infinitely. They should go on. They go on." Side 1: Hamlet for two voices 15'36 with Martha Hawley and Aritmética 5'19; Side 2: Three Spanish Pieces 7'21 Poema 1'57 First Spanish Lesson 7'13 and 45 Revoluciones por Minuto 3'59. Dear Reader p. 128; Hill 38. Antwerpen: Guy Schraenen unknown
réf. 9235Audiocassette tape printed labels on side A & B housed in a plastic case. Orig. red paper pictorial liner. Amsterdam: Time Based Arts 1984. Rare audiocassette of a Carrión sound work; unrecorded by WorldCat. It was originally recorded in June 1983 and then issued through Time Based Arts the following year. “Trios & Boleros 1983 was produced as a part of a series by a number of artists writers and composers. The Dutch public broadcasting company VPRO allocated broadcast time to individual unrelated productions under the umbrella title of ‘Art on the Radio the Radio as Art’. No mathematical text analysis here: Ulises narrates the history of the bolero defining the classic form identifying the origins and greatest interpreters. He notes the impact of Cuban and Caribbean music on the genre… “The lecture is delivered against the musical background provided by these artists whose music filled his home…The program closes with the lyrics ‘Caminemos tal vez veremos después Walk on maybe we’ll meet again.’”–Martha Hawley ”Jacaranda Ulises Carrión and Sound” in Martha Hellion ed. Ulises Carrión: ¿Mundos personales o estrategias culturales 2003 p. 89. Near fine; one of the cassette labels is partially coming loose. ⧠G. Schraenen ed. Dear reader. Don’t read. 2016 pp. 128 & 141. unknown books
