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réf. 51-7083London: Spafax Publishing; tate the art magazine ; Philip Allison 2001. 4to. 21x 29.7cm. Sheets loose as issued in original silver printed chemise and box. 28pp. text; poster and 50 signed broadsides folded from 59.5 x 42cm. to 8 pages. Fine condition. .The deluxe portfolio 2000-01 comprising 50 offset lithographs on smooth wove paper with title-page and text each signed by the respective artist the sheets folded as issued within the original silver Solander box with debossed cover and spine.Richard Hamilton Gavin Turk Tim Stoner Philip Treacy Caruso St John John Hilliard Liam Gillick Georgie Hopton & Josephine Soughton Jake & Dinos Chapman Mark Hosking Grayson Perry Simon Patterson Runa Islam Anish Kapoor Bella Freud Tacita Dean Antony Gormley Carey Young Marine Hugonnier Will Self Fiona Rae Tracey Emin Christopher Le Brun Liam Gillick Douglas Gordon Carsten Holler Pierre Huyghe Philippe Parreno Rirkrit Tiravanija Nigel Shafran Anya Gallaccio James White & Tim Sheward Mark Lewis Richard Deacon & Martin Kreyssig Wolfgang Tillmans Joao Penalva Matthew Higgs Oliver Payne & Nick Relph John Latham Gilbert & George Enrico David Mona Hatoum Andrew Lewis Cerith Wyn Evans Howard Hodgkin Tom Gidley Sam Taylor-Wood Harland Miller Peter Doig Hussein Chalayan Patti Smith Darren Almond Michael Craig-Martin Jeremy Deller Bridget Riley."fig-1" was a project initiated by Mark Francis and White Cube founder Jay Jopling who held 50 one-week exhibitions at a disused venue in Soho London.The project called together 49 British artists of different generations from veterans such as Richard Hamilton Howard Hodgkin Anish Kapoor and Bridget Riley to established YBAs including Jake & Dinos Chapman Tracey Emin and Gavin Turk and up and coming soon to be illustrious names such as Peter Doig Grayson Perry and Harland Miller - each one of them exhibiting for one week with Richard Hamilton showing twice in the first and last week.Divided into 50 sections the book chronicles each project in the words of the participants through interviews essays and visual documentaries. .Arrangment of the prints: 01. Richard Hamilton02. Gavin Turk03. Tim Stoner04. Philip Treacy05. Caruso St. John06. John Hilliard07. Liam Gillick08. Georgie Hopton Josephine Soughan09. Jake Dinos Chapman10. Mark Hisking11. Grayson Perry12. Simon Patterson13. Runa Islam14. Anish Kapoor15. Bella Freud16. Tacita Dean17. Antony Gormley18. Carey Young19. Marine Hugonnier20. Will Self21. Fiona Rae22. Tracey Emin23. Christopher Le Brun24. Liam Gillick Douglas Gordon Carsten Höller Pierre Huyghe Philippe Parreno Rirkrit Tiravanija25. Nigel Shafran26. Anya Gallaccio27. James White Tim Sheward28. Mark Lewis29. Richard Deacon Martin Kreyssig30. Wolfgang Tillmans31. João Penalva32. Matthew Higgs Oliver Payne Nick Relph33. John Latham34. Gilbert George35. Enrico David36. Mona Hatoum37. Andrew Lewis38. Cerith Wyn Evans39. Howard Hodgkin40. Tom Gidley41. Sam Taylor-Wood42. Harland Miller43. Peter Doig44. Hussein Chalayan45. Patti Smith46. Darren Almond47. Michael Craig-Martin48. Jeremy Deller49. Bridget Riley50. Richard Hamilton London: Spafax Publishing; tate, the art magazine ; Philip Allison, 2001 unknown
1968réf. 178373New York: Atlantis Editions 1968. Early abstract drawings of O'Keeffe First edition number 185 of 230 copies signed by the artist from a total edition of 250. O'Keeffe personally selected ten of her drawings two of which are from the Metropolitan Museum of Art to represent the range and variety of her work in this medium. To some of the drawings she made changes enhancing the print. Folio. With 10 reproduced drawings printed in 300-line screen offset lithography at the Meriden Gravure Co. I-IX are printed on Rives BFK paper and X on Arches Cover paper. Sheet sizes: 63.3 x 48.5 cm. Eight-page booklet together with 10 loose prints in separate folders. All housed in the publisher's white cloth clamshell box. All in fine condition. hardcover
réf. 140831London: Spafax Publishing in association with tate: the art magazine 2001. Signed by over 50 artists First edition first printing. Edition of 50 signed by the artists. Fig-1 was 50 projects in 50 weeks initiated by Mark Francis and Jay Jopling set in a small warehouse building in Soho each project lasting one week. Each poster is signed by the relevant artist or artists. The projects embraced a broad range of contemporary creative productions including fine art with 13 Turner Prize nominees as well as literature film and video fashion design and architecture. Quarto 32 page stapled booklet A1 folded poster with photo-portraits of all the artists 50 A2 folded posters. With the original silver card clamshell box. Box lightly rubbed to edges else fine. unknown
1922réf. 166022Boston: B. J. Brimmer 1922. Inscribed to "the greatest Black orator of his day" First edition first printing presentation copy inscribed by the author in the month after publication on the first blank "Dec. 27 - '22. To Mr. Roscoe C. Simmons shall we not dedicate this page to this day which we must regard happy and signal. Read page 15 from The Heart of a Woman & thank every God for your exclusion. Sincerely Georgia Douglas Johnson". Inscribed copies are rare: we have traced just one other. Johnson's page reference is to the poem "Repulse" which was published in her first volume of poetry The Heart of a Woman and Other Poems in 1918. Although we have not been able to identify what happened on the "happy and signal" day of this inscription the implication of Johnson's inscription must be in reference to the refrain "Nobody cares when I am glad. Nobody cares when I am sad" suggesting that Simmons as a caring friend was excluded from these. "Roscoe Conkling Simmons 1881-1951 was the greatest Black orator of his day blessed with the ability to electrify audiences for hour after hour. Americans nationwide knew of him through his electioneering for the Republican party and his lecture tours. Blacks meanwhile read his column in the Chicago Defender the nation's most popular Black newspaper. Simmons was an experienced political player and functioned as an unofficial adviser to Presidents Harding Coolidge and Hoover. Through his pack of associates - Black America's most powerful businessmen and editors entertainers and racketeers - he forged close links with key Black organizations participating in the affairs of fraternities churches and educational institutions. Therefore when white Republicans needed help in rallying Northern Black voters Simmons was the fixer they summoned" Kaye pp. 79-80. Johnson a nationally recognized figure of the Harlem Renaissance wrote from Washington DC where she had an immense influence on New Negro writers from all over the country in part by holding a literary salon in her home. Referred to as the "Saturday Nighters" the attendees included many prominent African-American writers including Countee Cullen W. E. B DuBois Alain Locke Langston Hughes and Jessie Fauset. She provided a much-needed venue in which these authors "read their works exchanged criticisms and argued views on literature art and politics and found the nurture encouragement and reception that Black Washington seemed unwilling to extend" Edwards p. 157. Johnson's literary salon had standards; as Washington journalist and poet J. C. Byars put it "if dull ones come she weeds them out gently effectively" Hull p. 166. Works by both Simmons and Johnson were included in the 1920 publication The Dunbar Speaker and Entertainer edited by Alice Moore Dunbar-Nelson. The Heart of a Woman Cornhill 1918 had been "criticized in some quarters because it did not contain enough 'racially conscious' poems Perhaps in response to such criticism her next book Bronze: A Book of Verse 1922 is much concerned with issues of race as well as gender" ANB. Both works were published by the African American poet and literary critic William Stanley Braithwaite who founded the publishing firm B. J. Brimmer in 1921 having left Cornhill when Brookes More took control and stopped publishing African American poets: "to be recognized by Braithwaite was to receive a significant imprimatur" Kenny J. Williams quoted in Brooker & Thacker p. 316. Octavo. Original white cloth-backed paper covered boards printed paper spine label spine and front cover lettered in black. With rear flap and rear panel of dust jacket loosely inserted. A little wear to extremities minor marks to boards. A very good copy notably well preserved. Peter Brooker & Andrew Thacker eds The Oxford Critical and Cultural History of Modernist Magazines Volume II: North America 1894-1960 2009; Brent Hayes Edwards The Practice of Diaspora: Literature Translation and the Rise of Black Internationalism 2009; Gloria T. Hull Color Sex and Poetry: Three Women Writers of the Harlem Renaissance 1987; Andrew Kaye Roscoe Conkling Simmons and the Significance of African American Oratory Historical Journal vol. 45 no. 1 March 2002. hardcover
