1. Desire & The Brush (1996)
original letterpress text with tipped in type, 8 photograps, 2 original drawings by Kristin Headlam. 24.0 x 20.0 cm; housed in slipcase; Nick Doslov (Renaissance Bookbinding). 4 + 2 ap, signed by both artists in ink and numbered in ink.  Masterthief Enterprises, Melbourne.
nfs

2. Three Cheers for Civilization (1985)
offset: colour, 27.0 x 21.0 cm. 1000 softcover + 50 casebound. Champion Books, Melbourne
casebound $90. softcover $40

3. Peter Lyssiotis with Jas H. Duke & Vivienne Mehes
Industrial Woman (1986)
offset: b&w, 28.0 x 21.5, c. 1000 softcover Industrial Woman Collective, Melbourne
$40

4. The Harmed Circle (1992)
original letterpress text with tipped in type 8 photographs. 25.0 x 21.0 cm; Nick Doslov (Renaissance Bookbinding). 10 + 3 ap, signed and numbered in ink. Masterthief Enterprises, Melbourne
nfs

5. …From The Secret Life of Statues (1994)
original letterpress text with tipped in type 8 photographs. 25.0 x 21.0 cm; Nick Doslov (Renaissance Bookbinding). 10 + 3 ap, signed and numbered in ink. Masterthief Enterprises, Melbourne
nfs

6. Peter Lyssiotis and Gyorgy Scrinis
C.D.’s And Other Things (1994). Offset: b&w, 21.0 x 15.0 cm. 1000 stapled. Masterthief Enterprises, Melbourne.
$9

7.  A Boy A Journey & (1995)
original letterpress text with tipped in silver gelatin photographs. 25.5 x 18.5 cm; Nick Doslov (Renaissance Bookbinding). 3 + 1 ap. Masterthief Enterprises, Melbourne.
nfs

8. Desire & The Brush (1996)
original letterpress text with tipped in type, 8 photographs, 2 original drawings by Kristin Headlam, 24.0 x 20.0 cm; housed in slipcase; Nick Doslov (Renaissance Bookbinding). 4 + 2 ap, signed by both artists in ink and numbered in ink. Masterthief Enterprises.
nfs

9. Peter Lyssiotis with Theo Strasser
The Use of Ashes (1996)original handwritten text & gouache, 40.0 x 32.0 cm; Nick Doslov (Renaissance Bookbinding). 5, signed by both artists in ink and numbered in ink. Masterthief, Melbourne.
nfs

10. The Products of Wealth 1997
original letterpress text with tipped in silver gelatin photographs, (6 sewn and numbered booklets + colophon booklet housed in a drop back book box). 29.0 x 20.0 cm; Nick Doslov (Renaissance Bookbinding). 5 + 1 ap. Masterthief, Melbourne.
nfs

11. George Alexander with Peter Lyssiotis
Mortal Divide 1997
text by George Alexander, photomontage by Peter Lyssiotis, 17.5 x 14.5 cm; printed and bound by Southwood Press. Brandle & Schlesinger Book Publishers.
nfs

12. Feather & Prey 1997
original text with b&w offset images. 27.0 x 21.0 cm; Nick Doslov (Renaissance Bookbinding). 10 + 3 ap, signed and numbered in ink. Masterthief Enterprises, Melbourne.
nfs

13. Peter Lyssiotis with Scott McQuire
The Look of Love 1998
original letterpress text with tipped in type c photographs. 29.0 x 19.5 cm; (housed in slipcase), Nick Doslov (Renaissance Bookbinding). 10 + 6 ap, signed in ink by the artists, numbered in ink. Masterthief. Melbourne.
nfs

14. Peter Lyssiotis with George Matoulas
Journey 1999
original screenprinted text with lithographs. 34.0 x 24.5 cm; bound by George Matoulas. 8 + 2 ap, signed by the artists in ink, numbered in ink. Messofa Press.
nfs

15. Brian Castro with Peter Lyssiotis
Looking for Estrellita 1999
Text by Brian Castro, photomontage by Peter Lyssiotis. 18.0 x 13.3 cm; printed by McPherson’s Printing Group, University of Queensland Press.$30

16. Peter Lyssiotis with Alex Selenitsch
Mnempolis 2000
Original letterpress text with laser colour prints, plus 1 original drawing. 29.0 x 21.5 cm; (housed in folder by Alex Selenitsch).
7 + 3 ap, signed by the artists in pencil, number circled in pencil. Masterthief & Hybrid Productions.
$1000

17. The Ifs of Language 2002
original text and b&w offset. 42.0 x 26.0 cm (housed in slipcase); Nick Doslov (Renaissance Bookbinding). 10 + 3 ap, signed and numbered in ink by the artist. Masterthief, Melbourne.
nfs

18. Peter Lyssiotis with Noga Frieberg (Mizrahi)
Homeland 2003
Original text with computer generated b&w, & colour photographs. 15.0 x 20.5 cm; Apollo Moon Binders. 20 + 2 ap, signed by the artists in ink, numbered in ink.  Masterthief, Melbourne
$650

19. Peter Lyssiotis with Leon van Schai
Paris 2003
b&w offset. 21.5 x 16.0 cm; White’s Law Bindery. 10 + 2 ap with special binding. (Edition of 10 sold out.)100 bound by The Bindery, signed and numbered by the artists ink. Masterthief, Melbourne.
$80

20. Peter Lyssiotis with Angela Cavalieri
1316-Book I 2004 and 1316-Book II 2006
each book – loose folded sheets housed in box, comprising linocuts handwritten text and photographs. 40.0 x 33.0 cm; White’s Law Bindery. each – 10 + 2 ap signed by the artists in ink, numbered in ink.  Masterthief, Melbourne
$180021. A Gardener at Midnight: Travels in the Holy Land 2004

21. original texts (1 by Peter Lyssiotis & 1 by Brian Castro); 52.0 x 36.0 cm; Nick Doslov (Renaissance Bookbinding); 10 + 5 ap (with 2 original signed prints) Masterthief, Melbourne
$12,000

22. The Bird, The Belltower 2005
offset: b&w with a 4 colour section; 21.0 x 14.5 cm; 300 soft cover;  Owl Publishing (2^nd ed.); Modern Writing Press (1^st ed., 2004)
$30

23. His Wayward Hand 2005
original screenprinted text with lithographs. 33.5 x 25.5 cm; bound by George Matoulas. 12 + 2 ap, signed by the artists in ink, numbered in ink. Masterthief & Messofa Press.
$1,400

24. Peter Lyssiotis with Monica Oppen
Seven Rooms 2005
original text & colour photomontages printed offset. 21.0 x 21.0 cm; (box made by Daphne Lera, bound by Monica Oppen). 17 + 2 ap, signed by the artists in ink, numbered in ink. Ant Press, Sydney & Masterthief, Melbourne.
$1,600

25. Peter Lyssiotis with Robert Colvin & Theo Strasser
Using Shadows 2005
b & w photographs, prints & colour gouache.  41.5 x 31.5 cm; White’s Law Bindery. 10 + 3 ap, signed by the artists in ink, numbered in ink. Masterthief. Melbourne.
$950

26. 7 Disrupted Interviews with History 2007
original text & laser colour images. 22.0 x 15.0 cm; White Law’s Bindery. 25 + 3 ap, signed and numbered by the artist in ink. Masterthief, Melbourne.
$600

27. Peter Lyssiotis with Anne Twigg
If His Voice Be True 2007
Original text & colour images printed offset. 21.5 x 15.5 cm; White Law’s Bindery. 16 + 2 ap, signed by the artists in ink, numbered in ink. Masterthief. Melbourne/
$650

28. Peter Lyssiotis with Theo Strasser
Eyewitness 2008
26 x 50.5 cm; bound by Daphne Lera assisted by Monica Oppen. 10 + 4 ap. Masterthief, Melbourne & Ant Press, Sydney.
$2000

]]> http://www.grahamegalleries.com/exhibitions/2008/outside-of-a-dog-25-years-of-book-arts-prints-photographs/feed/ 0 http://www.grahamegalleries.com/exhibitions/2008/the-centre-for-the-artists-book/ http://www.grahamegalleries.com/exhibitions/2008/the-centre-for-the-artists-book/#comments Thu, 03 Dec 2009 06:29:14 +0000 Noreen http://www.grahamegalleries.com/?p=2216 Dogwood Crossing Gallery at Miles  July 2008

An exhibition of thirteen artists’ books from the collection, The Centre for the Artist’s Book, was held at the gallery in Miles in preparation for a workshop to be held in late July by Adele Outteridge and Wim de Vos on making artists’ books. The selection of artists’ books for this exhibition was made to show workshop participants and the public ‘what an artist’s book is’. Space was limited to three glass cases, which, of course influenced selection criteria.

Alfedo Alcanin, Spain
Io Sono Pinocchio (1984)
b&w etching of Pinocchio’s nose 10x63cm (open), 10 x 6.5 cm folded. Housed in plastic cassette case. Signed, dated and editioned in pencil. Edition 120/195. Published by Galeria Estampa, Madrid .

David Burnett, Australia
Shadow Book (1994)
A discarded car mud flap was the starting point for this book of found objects of paper and lead. Using solvent transfer, photocopies, monoprints and printed images a rich tapestry is created. Unique.

Noreen Grahame, Australia
Monsieur Le Président (August 1995)
A protest flip book about the resumption of French nuclear testing in the Pacific. The word ‘non’ enlarges gradually as the reader flips the pages until it almost shouts “NON, Monsieur Le Président”. Signed. 3.5 x 12cm.
Au moment de la reprise des tests nucléaires au pacific j’etais tellement indigné que j’ai conçu le flip book ‘Monsieru Le Président’. Commençant avec un proteste modeste la rage allait en s’agrandissant pour finir avec un NON furieux. Unlimited edition. Published by numero uno publications.

Ron McBurnie, Australia
God Dog (1991)
Concertina book in tin can receptacle. Colour photocopies of the artist’s drawings. The book tells the story of ‘God’ who want’s his own dog so much he makes it out of found objects. “On the first day God found a piece of wire…And on the seventh day he – took his dog for a wild run”. 7.5 x 5.5 cm. Signed. Edition 100 unnumbered. Published for Artists’ Books exhibition held at grahame galleries + editions 1991. Published by the artist.

Scott McCarney, USA
Memory Loss (1988)
The experience of a person who has suffered serious head injury and the subsequent restructuring of life and mind establishes a basic theme of ‘Memory Loss’. Texts drawn from clinical documents and personal correspondence interact throughout the book with a rich network of imagery. the unusual accordion fold/venetian blind format challenges a linear reading of text and images, as memory surfaces and escapes through the viewing of the pages. 40pp, 56.5×6.5cm, printed four colours. Edition of 500.Published by Visual Studies Workshop, Rochester, N.Y.

Shelagh Morgan, Australia
Changing Same (2007)
I chose to use transparent pages because of the subtle shifts that occur in the overlaid images, this alludes to the past & present merging. Material history is always happening now. The predominance of war on the history channel is actually not as distressing as watching the Fox News channel, and what they represent. Produced for the exhibition Lessons in History Volume 1 held at grahame galleries + editions in 2007. 12 X 30 cm. Unique.

Adele Outteridge
Round Trip (1996)
A collection of bus tickets sewn together forming travel details of the artist’s friends, children and students. It is as much a small sculpture as it is a book. 5.5 x 5.5 cm (Open 5.5 x dia 10 cm). Unique.

Alex Selenitsch, Germany arrived Australia
Ghost Series (2001 – 2006)

The Ghost of Adolf Hitler ( 2001)
71 staples through trimmed found book. 10.25 x 11.5 x 0.75 cms.

The Ghost of Winston Churchill (2001)
cotton thread stitching through found book. 28 x 21 x 0.5 cms.

The Ghost of Joseph Stalin (2003)
Perforated steel dust-jacket on found book. 22 x 15 x 5.5 cms.

The Ghost of Theodore Delano Roosevelt (2006)
52 chicago screws through tissue on drilled found book. 30 x 25 x 1 cms.

Some of the materials Selenitsch has utilised in producing these four books give the viewer inkling about the ghosts of the four chief Second World War protagonists. Staples hold Hitler’s Germany together, a perforated steel dust-jacket wraps around Stalin’s spirit, Roosevelt rescues Europe with chicago screws and cotton thread betrays the vulnerability of Churchill’s threadbare England. In a nice twist the sale price for the series was $1945, the year of the Yalta agreement. Unique.

Glen Skien, Australia
“A CONCISE HISTORY OF AUSTRALIA” VOLUME I
A small series of twelve transparent collaged works, which are most probably what I would have preferred to be doing in my Australian history lessons at school … writing and tracing over the pages and cutting out the pictures. Envelopes 10 x 15.5 cm in hand made box 11 x 17.7 x 8.2 cm. Transparent envelops with collage and text. Published for exhibition Lessons in History held at grahame galleries + editions March/April 2007. Unique. Silent Parrot Press (2007)

Normana Wight, Australia
The Book of Bitzer Fragments (1990)
‘Bitzer’ was one of the artist’s favourite companions as a young child. As he worn appearance and loss of on ‘button-eye’ attests, he was much loved. Handed-down to the artist’s brother, Jamie, to whom the book is dedicated, ‘Bitzer’ acquired a knitted jacket to help keep him together. In 1989 while preparing for an exhibition at grahame galleries + editions, ‘Bitzer’ re-emerged. Photocopied images from watercolours and drawings made for book. Printed on Japanese paper. 25 pp. 21 x 30 cm. Edition 1/20. Self-published .

In 2008 Australia was the guest country at the Taipai International Book Exhibition, a trade book fair, which also included exhibitions.

The Australian Pavilion presented the latest publications by Australian book publishers from Australian and some authors were also present for the opening. As the guest country Australia was obligated to organise exhibitions of books and book related works that reflected Australian culture.

grahame galleries + editions was asked by the Australian Commerce and Industry Office in Taiwan to curate and exhibition of Australian Artists’ Books from The Centre for the Artist Book, the gallery’s collection of over 500 artists’ books. An exhibition of artists’ books was a first for the Taipai International Book Exhibition.

The curator of the Australian Artists’ Books Exhibition, Noreen Grahame, was given the task of not only selecting works but also of taking them as luggage on flights to and from Taipai and of setting up the display. Twenty-seven books by sixteen Australian artists were exhibited in five purpose designed cases arranged at the entrance of the Australian Pavilion.

Artists in the exhibition included: Ian Blamey; David Burnett; Jan Davis; Noreen Grahame; Juli Ha of The as; John Honeywill; Robert Jacks; Peter Lyssiotis; Ron McBurnie; Milan Milojevic; Adele Outteridge; Michael Phillips; Glen Skien; Stephen Spurrier; The Contextual Villians (Rachel Peachey, Paul Mosig, Emily Robinson, Surya Bajracharya); Jonathan Tse.

The exhibit was one of the ‘hits’ at the Taipai International Book Exhibition and caused a media crush after the pre-exhibition press conference.

Public response to the curator’s daily tours of the exhibits was overwhelming and The Australian Artists’ Book Exhibition was farewelled by the Taiwanese military!

]]> http://www.grahamegalleries.com/exhibitions/2008/taipai-international-book-exhibition-13-18-february/feed/ 0 http://www.grahamegalleries.com/exhibitions/2008/dieter-roth/ http://www.grahamegalleries.com/exhibitions/2008/dieter-roth/#comments Thu, 19 Mar 2009 05:23:34 +0000 Noreen http://www.grahamegalleries.com/?p=700

Somewhere in Europe in the 1970s I accidentally came across an exhibition of Dieter Roth’s books and book objects. Roth had begun to focus on the book form around the mid 1950s, and, although a large exhibition, what I saw in my first encounter with Roth’s work was only a fraction of his artist’s books and multiples from this twenty-year period.

Karl Dietrich Roth was born in Hanover, Germany, in 1930. Roth’s father was Swiss and at age 13 in 1943 his parents sent him from war torn Germany to the safety of Zurich. In 1951 he finished an apprenticeship as a graphic designer in the Swiss capital of Bern. He continued to pursue his interests in poetry and art, and in 1953 contributed paintings to an exhibition of Swiss concrete artists in Zurich. These interests brought him into contact with other talented innovators, including Eugen Gomringer, the acknowledged founder of concrete poetry, Claus Bremer, theatre director and, most importantly, Daniel Spoerri, who later became the leader of the Darmstadt Circle of concrete poets. Roth would go on to work with Spoerri on many projects.

It was perhaps inevitable that Roth, poet, artist and designer, would choose the book as his medium for experimentation. This began in 1954 with Kinderbuch (Children’s Book) (1954-1957) conceived for Claus Bremer’s son. Bremer returned the book with the request Roth have it published. The search for a publisher, first in Switzerland and then in Copenhagen (where he moved in 1955) was unsuccessful. Publishing houses generally showed little or no interest in taking on these ‘new books’, and this first copy of Kinderbuch was thrown out.

In 1957 Roth moved to Reykjavik to join his future wife. Still unsuccessful in finding a publisher for Kinderbuch, he founded “forlag ed”. It was the first of Roth’s many publishing houses. Others include “taucher verlag” (diver press) and “wasser verlag” (water press). The freedom of independent publishing suited his innovative book concepts, his temperament, the obsession he had with detail and perhaps even an obsession with control. Kinderbuch was the first title published by “forlag ed”. The edition numbers are uncertain. In the catalogue raisonné they are given as approximately 25 with cut-outs and approximately 75 without cut-outs. The previous year he had produced three copies of another book titled Bilderbuch by hand. KinderbuchandBilderbuch would be published together as one in 1976 in an edition of 1000 as Collected Works, Volume 1 by edition hansjörg mayer.

Roth’s production of artist’s books had commenced

The British artist, Richard Hamilton, first saw the German’s artist’s books in 1960 at Gallery One in London in an exhibition organised by Daniel Spoerri – Edition Mat Oeuvres d’Art Transformables. Not only did Hamilton write for Typographica the first ever review of Roth’s books but he also recommended Roth for the Chicago-based Copley Award. Roth was the 1960 recipient. As part of the award funds were available to publish a monograph. Roth, however, opted for a different publishing project.

Between 1962 and 1965 (from Reykjavik and later from Providence, where he taught at the Rhode Island School of Design) Roth sent drawings, texts and pictures to Richard Hamilton in London. Although primarily known as an artist in the Pop Art tradition, Richard Hamilton acted as editor and go-between with the printers, as he too had a passion for the printed image. Given this trust in the decision-making of others, Roth proves to have willingly accepted collaboration (or assistance) when he saw the ability of others to help him achieve his goals as a book artist.

In the Copley Book single sheets mix with folded and punched sheets, traditionally printed sheets lie atop relief prints and blindstamped sheets. In some cases the artist’s hand-written instructions to the printers are included, a process he would repeat in future publications. The whole ensemble was stapled through the middle, which meant the viewer / reader had to remove this binding in order to open the pages. Hamilton had received Roth’s much worn notebook from these years as a gift for his help and he used the notebook cover to print the single fold cover for the Copley Book. The book was finished in 1965 but the lawyer for the Copley Foundation wanted certain words removed. The compromise was to block out in black the conjugation of ich kacke (I crap) du kackst… These changes were reversed in the reconstruction version published nine years later.

edition hansjörg mayer and the Collected Works

Roth had sent a couple of his books to the Stuttgart philosopher Max Bense, who showed them to one of his students, the typographer / publisher Hansjörg Mayer and encouraged him to visit Roth. Bense must have been aware he was bringing like spirits together. In the early 1960s Mayer went to Reykjavik to meet Dieter Roth. They decided to publish together and became collaborators on the Collected Works, a project to publish reconstructed versions of Roth’s artist’s books. So close was their collaboration that Roth became an associate of edition hansjörg mayer with both sharing editing responsibilities on Roth’s books.

The volumes of the Collected Works were mapped out but not published in number order. The series commenced in 1969 with Volume 15 (Poesy 5 to 1), which reproduced all the poems from Poetrie – Halbjahreszeitschrift für Poesie and finished in 1987 with Volume 37 (1234 most speedy drawings) the largest book in the series with 1236 pages.

In that 18 year period 26 of the designated 40 Volumes were published (21 – 34 were never published). Except for Volumes 1, 8 and 35 the format (27 x 23 cm) was uniform. The edition number was mostly nominated at between 1000 – 1200 (Volumes 20 and 40 had larger editions).

100 copies from the edition of a number of volumes were set aside as special editions. They were issued with special signed and numbered covers produced by Roth, thus turning them into multiples. 1000 copies of Volume 40 included a Roth drawing. As well 100 copies of Volumes 1 – 20 were further boxed (signed and numbered) with a photograph each of Hansjörg Mayer and of Roth as bookends.

This exhibition, the first in Australia, concentrates on this important activity of Dieter Roth, and includes all examples of the Collected Works published by edition hansjörg mayer including special editions 5, 6, 7, 9, 10, 11, 12 and 15, and (in the tradition of the artist) “some other stuff”.

Noreen Grahame

Collected Works, Volume 1

2 Picture Books Versions of the books published by forlag ed, Reykjavik 1957 and Dieter Roth, Reykjavik 1956

Children’s Book: 28 pages, four colour screenprinting and die-cutting, 22.5 x 23.5 cm, spiral binding Picture Book: 22 sheets of colour acetates and white card, die-cutting, 22.5 x 24 cm, spring-clip folder, 23 x 25 cm

books house in box 23.5 x 26.5 cx 4.5 cm; printed by Frank Kicherer, Stuttgart and Staib + Mayer, Stuttgart; edited by hj. mayer and d. rot; published by edition hansjörg mayer, Stuttgart, London, Reykjavik, 1976 in an edition of 1000

First publications: Children’s Book 28 pages, four colour letterpress, geometric shapes with hand cut and die-cut holes (1954-1957): 32 x 32 cm, spiral binding; printed by Hólar Prent, Reykjavik; published by forlag ed, Reykjavik 1957 in an edition of c. 25 signed (with cut-outs) and c. 75 unsigned (without cut-outs)

Picture Book approx. 20 sheets of transparent colour foil with rectangular holes of various sizes, 24 x 24 cm, spring-clip folder; published by Dieter Roth, Reykjavik 1956 in an edition of 3

Collected Works, Volume 2

Collected Works Volume 2

Ideograms bok 1956-59, material 2 and supplements – manuscript for material 5(Copenhagen 1956); 408 pages offset, 23 x 17 cm, stitched, softback; printed by Staib + Mayer, Stuttgart; edited by hj. mayer and d. rot; published by edition hansjörg mayer, Hellnar, Köln, London, 1971 in an edition of 1000

Collected Works Volume 2 page

First publications: Ideograms No 2 of the review ‘material’ published by Daniel Spoerri, Damstadt 1959 main part: 62 pages, small offset, 20 x 21 cm, rivet binding; edition 200 supplement 1: 40 pages, black and white sheets, alternating, 20 x 21 cm, rivet binding; edition 100 supplement 2: 12 pages, small offset, 29.7 x 21 cm, stapled; edition 100 Bok 1956-1959 70 pages and 4 double pages, miniature texts letterpress, monotype setting, 12 black sheets with punched holes, 20 x 21 cm, spiral binding; printed by Chr. Christensen, Copenhagen; published by forlag ed, Reykjavik 1959 in an edition approx. 150 signed

Collected Works, Volume 3

Collected Works Volume 3

Bok 2a and Bok 2b versions of the books published by forlag ed Reykjavik 1960/61; 114 pages, letterpress, 23 x 17 cm, adhesive binding, closed bolt, softback; printed by Staib + Mayer, Stuttgart; edited by hj. mayer and d. rot; published by edition hansjörg mayer, Stuttgart, London, Reykjavik, 1973 in an edition of 1000

Collected Works Volume 3 - page

First publications: Bok 2a 66 pages, letterpress on double sheets, monotype setting, 25 x 18 cm, spiral binding; printed by Dieter Roth; published by forlag ed, Reykjavik 1960 in an edition of 35 numbered but not signed unique copies

Bok 2b approx. 50 pages, letterpress on double sheets, monotype setting, 32 x 32 cm, spiral binding; printed by Prentsmidia Jóns Helgasonar, Reykjavik; published by forlag ed, Reykjavik 1961 in an edition of 100, numbered and signed, approx. 10 copies destroyed

Collected Works, Volume 4

Collected Works Volume 4

Bok 4a and Bok 5 versions of the books published by forlag ed Reykjavik 1961; 110 pages, letterpress, 23 x 17 cm, adhesive binding, closed bolt, softback; printed by Staib + Mayer, Stuttgart; edited by hj. mayer and d. rot; published by edition hansjörg mayer, Stuttgart, London, Reykjavik, 1972 in an edition of 1000

Collected Works Volume 4 - page

First publications: Bok 4a 80 pages, letterpress on double sheets, rubber blocks, 40 x 28 cm, spiral binding; printed by Prentsmidia Jóns Helgasonar, Reykjavik; published by forlag ed, Reykjavik 1961 in an edition of 100, numbered and signed, approx. 20 copies destroyed

Bok 5 approx. 60 pages, offset on double sheets, 22 x 28 cm, spiral binding;printed by Litbrá, Reykjavik; published by forlag ed, Reykjavik 1961 in an edition of 100 numbered and signed, approx. 95 copies destroyed

Collected Works, Volume 5

Collected Works Volume 5 -deluxe

Bok 3a reconstruction of the book as published by forlag ed 1961; approx. 350 sheets cut out of icelandic newspapers 23 x 17 cm, adhesive binding, softback; printed various printers in Reykjavik and Akureyri; edited by hansjörg mayer and rudolf rieser; published in the seimannsverlag, former edition hansjörg mayer with taucherverlag and wasserverlag amongst others, Reykjavik, Stuttgart, Köln, London, 1970 in an edition of 1000 (each unique) of which 100 copies in multiple designed by the author (4 variations), black imitation leather embossed, with 2 numbered and signed flongs inside

Collected Works Volume 5 - inside cover

First publication: Bok 3a approx. 300 sheets cut out of icelandic newspapers, approx. 20 x 20 cm, adhesive binding, softback; printed by various printers in Reykjavik; published by forlag ed, Reykjavik 1961 in an edition of 200, numbered and signed, approx

notes: of the edition of 100 some copies are numbered of 50 and dated 1971 and others are numbered of 100 and dated 1974 exhibited: copy with multiple cover; signed Dieter Roth, numbered 84/100 dated 74 lower margin on both flongs

Collected Works, Volume 6

Collected works Volume 6 - deluxe version

Box 3c

reconstruction of the book published by forlag ed 1961 approx. 300 sheets cut out of offset run-up sheets, 23 x 27 cm, adhesive binding, softback; printed by various printers in Reykjavik; editors: hansjörg mayer and Dieter Rot; published by edition hansjörg mayer, Reykjavik, Düsseldorf, London 1971 in an edition of 1000, of which 100 in cloth cover, with additions by the author, numbered and signed

Collected works Volume 6 - deluxe version

First publication: Box 3c approx. 300 sheets cut out of coloured offset run-up sheets, 22 x 22 cm, adhesive binding, softback; printed by 3 offset printers in Reykjavik; published by forlag ed, Reykjavik 1961 in edition of approx. 40

exhibited: copy with multiple cover; signed Dieter Roth, numbered 84/100 and dated 73 inside multiple cover in pencil

Collected Works, Volume 7

Collected Works Volume 7 - deluxe version

Bok 3b and Bok 3d reconstruction of the books published by forlag ed Reykjavik 1961 approx. 530 pages, original comics and children’s colouring books with die-cut holes, 23 x 17 cm, adhesive binding, softback; printed by Staib + Mayer, Stuttgart; edited by hj. mayer and d. rot; published by edition hansjörg mayer, Stuttgart, London, Reykjavik, 1974 in an edition of 1000 (each copy unique) of which 100 copies wrapped in original multicoloured screenprint by the author, numbered and signed, printed by Frank Kicherer, Stuttgart

Collected Works Volume 7 - cover

First publications: Bok 3b approx. 250 sheets cut out of coloured comic books with die-cut holes approx. 18 x 18 cm, adhesive binding, softback; printed by various printers in Denmark; published by forlag ed, Reykjavik 1961 in and edition of 50, numbered and signed, approx. 10 copies made

Bok 3d approx. 200 sheets cut out of children’s colouring books with die-cut holes approx. 20 x 20 cm, adhesive binding, softback; printed by various printers in USA; published by forlag ed, Reykjavik 1961 in an edition of 50, numbered and signed, 3 copies made

exhibited: copy from edition with multiple cover; signed Dieter Roth, numbered 55/100 and dated 74 on screenprinted wrapper in pencil

Collected Works, Volume 8

Collected Works Volume 8

2 Books 26 sheets, offset and die-cutting, 23 x 23 cm, loose sheets in portfolio in slipcase printed by Staib + Mayer, Stuttgart; edited by hj. mayer and d. rot; published by edition hansjörg mayer, Stuttgart, London, Reykjavik,1976 in an edition of 1000

reconstruction of 2 variants (A and B) of the portfolios from 1958-1961

book A, (black and white), book B, (blue and red)

profile

First publication: Book portfolio of 18-24 sheets, black and white or coloured card with hand-cut slots of different sizes, 38 x 38 cm or 41 x 41 cm; published by forlag ed, Reykajavek 1958 (made up as required); edition mat, Paris 1959, later Cologne; Ives-Sillman, New Haven 1964 editions in progress: edition mat, red and blue: 50 copies other editions: 25 copies each, all copies numbered and signed (see Books + Multiples, Dobke p. 149 and Collected Works, Volume 20, no 4 for full details of titles, position of slots

Collected Works, Volume 9

Collected Works Volume 9

Stupidograms printed samples of the hand-drawn original series 1961 to 1966; 416 pages, letterpress and offset, multicoloured 23 x 17 cm; stitched, softback, printed by Staib + Mayer, Stuttgart; edited by hj. mayer and d. rot; published by edition hansjörg mayer, Stuttgart, London, Reykjavik,1975 in an edition of 1000 of which 100 copies wrapped in original drawing by the author, numbered and signed.

Collected Works, Volume 9 - page

Other publications: Gorgona 15 x 10 cm, letterpress and pen on white paper, in paper cover published by Vlastita Naklada, Josip Vanista, Zagreb in an edition of 200 numbered and signed English edition 23 x 17 cm, stitched, cloth in slipcase, with an original Stupidogram by the author, signed, for Eaton House Publishers Ltd in an edition of 1000 exhibited: copy from standard edition and copy with multiple cover; signed Dieter Roth and dated ‘83 back cover in pencil

Collected Works, Volume 10

Collected Works, Volume 10 deluxe version

Daily Mirror variant of ‘Quadrat Print’ published by de Jong, Hilversum 1965. 472 pages offset, 23 x 17 cm, stitched, softback, printed by Staib + Mayer, Stuttgart. edited by hansjörg mayer and rudolf rieser, published in the wasserverlag (waterpress) the former edition hansjörg mayer (taucherverlag), Köln, London, Reykjavik 1970 in an edition of 1000, of which 100 copies in multiple designed by the author, painted corrugated cardboard, numbered, with 2 signed miniature books 2 x 2 x 2 cm cut out of ‘Daily Mirror’ newspapers

First publication: Quadrat Print 60 loose sheets, printed on both sides, offset 25 x 25 cm printed and published by Steendrukkerii de Jong, Hilversum 1965, edition of 1000, promotion piece enlargements from ‘Daily Mirror Book’ 1961 (minus card cover from book exhibited)

exhibited: copy with multiple cover; signed Diet Roth, numbered 56/100 and dated 73 in green ink inside front cover (multiple) and copy of Quadrat Print (minus cover)

Collected Works, Volume 11

Collected Works, Volume 11 deluxe version

Snow

with an introduction by the author, photographic version of the original 1964 256 pages, offset, 23 x 17 cm, stitched softback, cover design by Joe Filzen, New Haven, printed by Staib + Mayer, Stuttgart, edited by hansjörg mayer and rudolf rieser, published by wasserpresse, former edition hansjörg mayer, Stuttgart, London, Reykjavik 1970 in an edition of 1000, of which 100 copies in multiple designed by the author, covered corrugated cardboard, numbered, with 2 crushed lightbulbs, signed

Collected Works, Volume 11 standard copy

First publication: snow approx. 300 single sheets of texts, drawings, graphics, collages and photographs in cardboard box with straps, 80 x 60 x 30 cm. unique item made by d. rot, j. frederick and students of the philadelphia museum college of art 1964

exhibited: copy from standard and copy with multiple cover, numbered 51/100 in green ink inside back cover (multiple) notes: In Snow’s publication details the edition of multiple designed by the author is given as 200

Collected Works, Volume 12

Collected Works, Volume 12 deluxe version

(Copley Book) enlarged version of the book published by Copley Foundation, Chicago 1965 40 sheets of different sizes, mostly printed on both sides, folded or collaged, offset and letterpress in box, 23 x 17 cm. printed by Staib + Mayer, Stuttgart, edited by hj. mayer and d. rot, published by edition hansjörg mayer, Stuttgart, London, Reykjavik 1974 edition of 1000 of which 100 wrapped in original photographs by the author, numbered and signed

Collected Works, Volume 12 standard

First publication: (Copley Book) 112 sheets of different sizes (some folded) texts, drawings, photographs, collages, reliefs, letterpress, offset, die cuts, embossing, 25 x 23 cm, loose sheets fixed with a staple in cardboard cover, published by William and Noma Copley Foundation, Chicago 1965 edition of approx. 1750 copies hors commerce (see Collected Works, Volume 20, no 26 for full description)

exhibited: copy from standard edition and copy with multiple wrapped cover; signed Dieter Roth, numbered 75 on wrapped cover in pencil notes: Dieter Roth won the “William and Noma Copley Foundation Award” in 1960; printing was supervised by Richard Hamilton 1961-1966, the book was distributed in 1966, the poem ‘ich kacke du kackst…’ and parts of a text were overprinted in black. This was reversed.

Collected Works, Volume 13

Collected Works, Volume 13

Scheisse (Shit) collection of all ‘Scheisse’ poems with all illustrations, 472 pages, offset and letterpress, 23 x 27 cm, stitched, softback, printed by Staib + Mayer, Stuttgart< edited by hj. mayer and d. rot, published by edition hansjörg mayer, Stuttgart, London Reykjavik 1972 edition of 1200

notes: The ‘Scheisse’ poems were a central part of Roth’s work.

Collected Works, Volume 14

Collected Works, Volume 14

Die Blaue Flut (the blue tide) reproduction of first edition, edition hansjörg mayer, Stuttgart 1967 and 3 original manuscripts, Markgröningen, Providence, Reykjavik 1966-1967, 632 pages, offset, 23 x 17 cm, stitched, softback, printed by Staib + Mayer, Stuttgart. edited by hj. mayer and d. rot, published by edition hansjörg mayer, Stuttgart, London, Reykjavik 1973 in an edition of 1000

First publication: die blaue flut (the blue tide), 224 pages letterpress, linotypesetting using special fount, 16 x 12 cm, adhesive binding, softback, printed by jh. mayer, Stuttgart, published by edition hansjörg mayer, Stuttgart, 1967, 500 numbered copies, approx. 50 author copies

Collected Works, Volume 15

Collected Works, Volume 15

Poesy 5 to 1 review for poesitioning, pometry, poeting and poetry, 220 pages offset, 23 x 17 cm, stitched, softback, printed by Staib + Mayer, Stuttgart, published by edition hansjörg mayer with taucher verlag (divers press) (kafari forlag), Köln, London, Reykjavik 1969 in an edition of 1000 of which 100 copies in multiple designed by the author, painted rubber mat, numbered with 2 signed polaroid colour photographs
reproduction of ‘poesy no. 1’ (see Collected Works, Volume 20 no. 25) ’32 heavier clouds for hansjörg mayer’ (see Collected Works, Volume 20 no. 31) ‘poesy no. 2’ (see Collected Works, Volume 20 no. 30) ‘poeting ¾’ (see Collected Works, Volume 20 no. 35) ‘poesitioning no. 5’ (first edition)

Collected Works, Volume 16

Collected Works Volume 16

MUNDUNCULUM slightly corrected and enlarged version of the book published by Dumont Schauberg, Cologne 1967, 336 pages, offset, 23 x 17 cm, stitched, softback, wrapper, printed by Staib + Meyer, Stuttgart, edited by hj. mayer and d. rot. published by edition hansjörg mayer, Stuttgart, London, Reykjavik, 1975 in an edition of 1000, of which 100 copies wrapped in original ‘Stampdrawing’ by the author, numbered and signed

First publication:

MUNDUNCULUM

volume 1, Rot’s videum a tentative logico-poeticum presented like a plan or program or dream of a provisional mytherbarium for visual plants (with an original contribution by Emmett Williams). 336 pages, letterpress, texts, drawings, rubberstamps pictures, 21.2 x 15.5 cm, stitched, softback dustjacket, printed and published by Verlag M. Dumont Schauberg, Cologne 1961 in an edition of 1000

exhibited: copies from both editions

notes: The publisher, Verlag M. Dumont Schauberg. demanded the words ‘schwanz’ (prick) and ‘futz’ (cunt) be partly changed to ‘schwarz’ (black) and ‘fuss’. These changes were reversed in Collection Works, Volume 16.

Collected Works, Volume 17

Collected Works Volume 17

246 little clouds reconstruction of the book published by Something Else Press, New York 1968, with an introduction by Emmett Williams, 180 pages, offset, 23 x 17 cm, stitched, softback, dust-jacket, printed by Staib + Mayer, Stuttgart. edited by hj. mayer and d. rot, published by edition hansjörg mayer, Stuttgart, London, Reykjavik 1976, edition of 1000 of which 100 copies wrapped in unique blueprint, made from a film, successively changed by the author, numbered and signed

First publication: 246 little clouds with an introduction by Emmett Williams, 176 pages, texts and drawings, offset 23 x 15.8 cm, stitched, hardcover, dust-jacket, published by Something Else Press, New York 1968, 1980 copies cloth

exhibited: copies of both editions

Collected Works, Volume 18

Smaller Works, (part 1) published and unpublished material 1953-1966, 272 pages offset, 23 x 17 cm, stitched, softback, printed by Staib + Mayer, Stuttgart, edited by hj. mayer, d. rot and h. sohm, published by edition hansjörg mayer, Hellnar, Cologne, London 1971, edition of 1200, of which 100 in screenprinted foam rubber and cassette with music played by the author

notes: publishers details notes that the edition is 1000 of which 100 have numbered and signed original covers.

Collected Works, Volume 19

Smaller Works, (part 2)

published and unpublished material 1967-1971, 304 pages, offset, 23 x 17 cm, stitched, softback, printed by Staib + Mayer, Stuttgart, edited by hj. mayer and d. rot, published by edition hansjörg mayer, Stuttgart, London, Reykjavik 1971, edition of 1200, of which 100 in screenprinted foam rubber and original film-reel by the author

Collected Works, Volume 20

Collected Works, Volume 20

Books and Graphics, (part 1) from 1947 until 1971, 384 pages, offset, 23 x 17 cm, stitched, softback, printed by Staib + Mayer, Stuttgart, edited by hj. mayer, d. rot and h. sohm, published by edition hansjörg mayer, Stuttgart, London, Reykjavik 1972 in an edition of 8000, of which 100 in 9 dust-jackets signed by the author and 1000 copies, clothbound in slipcase with an original drawing by Dieter Roth for Eaton House Publishers Ltd

notes: publication details notes that the edition is 8000 of which 5000 copies with different dust-jackets as catalogue for travelling exhibition ‘graphics and books’ by dieter roth.

Collected Works, Volume 35

Collected Works, Volume 35

Bastel-Novella, No. 2

The ORIGINAL (part 2) by Fax Hundetraum (Fax Dogdream), 44 pages, letterpress and offset, 22 x 15 cm, stapled cover and supplement: 4 colour original offset print by the author, printed by Staib + Mayer, Stuttgart, published by edition hansjörg mayer, Stuttgart, London, Reykjavik, 1975 in an edition of 1000

notes: Three Basetlnovellen (Homemade Stories) make up Collected Work, Volume 35. Bastel-novelle, No 1 – The ORIGINAL (part 1) (Collected Works, Volume 40, no. 76) Bastel-Novella, No. 2 – The ORIGINAL (part 2) (Collected Works, Volume 40, no. 83) Bastel-Novella, No. 3 – Fatal Original (part 3) (Collected Works, Volume 40, no. 89)

exhibited: Bastel-Novella, No. 2 – The ORIGINAL (part 2)

Collected Works, Volume 36

Collected Works, Volume 36

96 Piccadillies – Postcards of works 1968-77 128 pages, offset, 96 colour plates, 23 x 17 cm, adhesive binding, printed by Staib + Mayer, Stuttgart, published by edition hansjörg mayer, Stuttgart, London, Reykjavik 1977 in an edition of 3000, 1000 softbacks, of which 200 copies in original Doublepiccadilly Painting by the author, numbered and signed, 1000 hardbacks in slipcase, with original drawing by the author and an introduction by Dieter Schwarz, for Eaton House Publishers Ltd, 1000 postcard sets, each 120 loose cards, 10.5 x 14.8 cm, with wrapper

notes: publishing details in book notes an edition of 2000, edition of 1000 postcard sets is not noted.

Collected Works, Volume 37

1234 most speedy drawings

1236 pages, offset, 23 x 17 cm, adhesive binding, softcover, printed by Staib + Mayer, Stuttgart, published by edition hansjörg mayer, Stuttgart 1987 in an edition of 600

Collected Works, Volume 37 page

Collected Works, Volume 38

Collected Works, Volume 38

Smaller Works, (part 3) published and unpublished material 1972-1980, 237 pages, offset 23 x 17 cm, stitched, softback, printed by Staib + Mayer, Stuttgart, published by edition hansjörg mayer, Stuttgart, London, Reykjavik, 1980 in an edition of 1000

Collected Works, Volume 39

Collected Works, Volume 39

Smaller Works, (part 4) published and unpublished material 1981-1983, 316 pages, offset, 23 x 17 cm, stitched, softback, printed by Staib + Mayer, Stuttgart, published by edition hansjörg mayer, Stuttgart, London, Reykjavik, 1980 in an edition of 1000

notes: The plates for title page and publication details are from Collected Works, Volume 38. They were altered by hand before printing.

Collected Works, Volume 40

Collected Works, Volume 40

Books and Graphics (part 2) and other stuff from 1971 until 1979 (including supplement to part 1), 366 pages, offset, 23 x 17 cm, stitched, softback, printed by Staib + Mayer, Stuttgart, published by edition hansjörg mayer, Stuttgart, London, Reykjavik 1979 in an edition of 4500 of which 1000 clothbound in slipcase with an original drawing by Dieter Roth, for Eaton House Publishers Ltd.

prints 1989 -2008
etchings drypoints aquatints mezzotints

The prints

For the past ten years Ti Parks has used three different printmaking workshops near his home in South London to produce etchings, drypoints, aquatints and mezzotints in very small editions.

It is very important for Parks to complete the whole process of printmaking himself; from the selection, cutting and preparing of the metal plate to the inking, wiping, pulling and final flattening of the finished print.

It has been a deliberate choice by the artist to work in this way having studied and admired the hand-made prints of many 20th century artists often produced in their early years before they were in a position to use the commercial facilities of professional printer publishers.

The small 1989 etching ‘Mo Head’ is the earliest of the prints. Other prints range from a 2007 Cornish landscape ‘The Pendeen Watch’ and the direct drypoints of the Dorset garden series from 1997 (‘Lavender Wednesday’ and others) to the cosmic series of ten years later based on found stencil circles (‘Eclipse’ and ‘Sunburst’) and the exploited and chance marks of the Samuel Beckett series of drypoints and mezzotints such as ‘Molloy’ and ‘Malone Dies’.

(all prices are unframed)

1. Mo Head (1989)
etching
plate 9.4 x 7.5 cm, sheet 26. x 20 cm
edition of 12 (no APs) on Hahnemühle
$500

2. ‘Sentinal’ (c. 1997)
drypoint
plate 12 x 15.5 cm, sheet c. 19.8 x 26.5 cm, # 4/15 sheet 26.5 x 19.8 cm
edition of 15 (no APs) on Hahnemühle
$400

3. Riace (1997)
drypoint
plate 12.7 x 14.3 cm, c. 20 x 26.3 cm, # 6/10 sheet 26.3x 20 cm
edition of 10 (no APs) on Hahnemühle
$500

4. Man Friday (c. 1997)
drypoint
plate 14.8 x 14.8 cm, sheet c. 28.8 x 19.3 cm, # 4/18
edition of 18 (no APs) on Somerset
$400

5. Saturday (Mirage) (c. 1997)
drypoint
plate 14.8 x 14.8 cm, sheet c. 26.5 x 26.2 cm
edition of 10 (no APs) on Hahnemühle
$500

6. SATURDAY, Saturday (c. 1997)
drypoint
plate 13 x 19.5 cm, sheet c. 19.3 x 28.8 cm
edition of 10 (no APs) on Somerset
$500

7. SUNDAY 2 (c. 1997)
drypoint
plate 19.2 x 19.8 cm, sheet c. 39.5 x 26.8 cm
edition of 3 (no APs) on Hahnemühle
$600

8. “Tree Seat” (1999)
drypoint
plate 14.9 x 14.9 cm, sheet various
edition of 3 (no APs) (1/3 on Hahnemühle, 2/3 on Somerset)
$600

9. LAVENDER WEDNESDAY (c. 1999)
drypoint
plate 12 x 19.3 cm, sheet c. 19 x 28.5 cm
edition of 17 (no APs) on Somerset
$400

10. Wednesday (c. 1999)
drypoint
plate 17.5 x 27.6 cm, sheet c. 27 x 39.3 cm
edition of 4 +II APs, edition on Hahnemühle, AP I on Somerset
$600

11. SATURDAY 2 (1999)
drypoint
plate 16 x 18.2 cm, sheet 19 x 28.5 cm
edition of 4 (no APs) on Somerset
$600

12. ‘M’ (1999)
drypoint
plate 15 x 12.6 cm, sheet 39.2 x 26.4 cm
edition of 10 + 3 APs on Hahnemühle
$500

13. ‘Bender’ (1) (c. 2000)
etching
plate 10 x 18.6 cm, sheet 19 x 28.5 cm
edition of 10 (no APs) on Somerset white
$500

14. ‘Bender’ (2) (c. 2000)
etching and aquatint
plate 10 x 18.6 cm, sheet 19 x 28.5 cm
edition of 10 (no APs) on Somerset white
$500

15. Ohio (2008) (second state)
drypoint
plate 12.8 x 12.8 cm, sheet c. 39.3 x 28.5 cm
edition of 5 (no APs) on Hahnemühle
$600

16. Cosmos (2006)
etching
plate 19.7 x 19.6 cm, sheet c. 39.5 x 26.5 cm
edition of 7, 1 AP (upside down), trial proofs IV on Hahnemühle
$600

17. The Pendeen Watch (2007)
drypoint
plate 22.2 x 22.2 cm, sheet c. 39.3 x 26.8 cm
edition of 7 on Hahnemühle
$700

18. Play (2007) (refer # 19 Screen Play)
etching
plate 19.5 x 19.5 cm, sheet c. 39.3 x 26.8 cm
edition of 3 (no APs) on Hahnemühle
$600

19. Screen Play (2007) (second state of #18 Play)
etching and aquatint
plate 19.5 x 19.5 cm, sheet c. 39.3 x 26.8 cm
edition of 2 + 1 trial proof on Hahnemühle
$600

20. Molloy (2007)
drypoint
plate 22.5 x 15.2 cm, sheet c. 39.4 x 26.8 cm
edition of 7 on Hahnemühle + IV APs on various papers
$600

21. Malone Dies (2007)
drypoint and mezzotint
plate 22.5 x 15 cm, sheet 39.2 x 26.6 cm
edition of 11 (no APs) on Hahnemühle
$500

22. Malone Alone (2007)
drypoint and mezzotint
plate 15.2 x 22.5 cm, sheet c. 26.7 x 39 cm
edition of 8 on Hahnemühle + II APs on various papers
$500

23. Light Phases (2007)
etching
plate 19 x 19.8 cm, sheet 38.3 x 27.2 cm
edition of 7 + II APs on Hahnemühle
$600

24. Eclipse (2007)
etching and aquatint
plate 17.6 x 17.6 cm, sheet c. 39.4 x 26.3 cm
edition of 7 + II APs on Hahnemühle + IX trial proofs on various papers
$600

25. ‘Sunburst’ (First State) (2007)
etching
plate 19.5 x 98 cm, sheet various sizes
edition of IV (no APs), # I – III on Hahnemühle, # IV on Somerset
$600

26. ‘Sunburst’ (Second State) (2007)
etching
plate 19.5 x 98 cm, sheet 27 x 19.7 cm
edition of II (no APs) on Hahnemühle
$600

27. ‘Sunburst’ (Sixth State) (2008)
etching and mezzotint
plate 19.5 x 98 cm, sheet 39.5 x 28.7 cm, # IV 39 x 26.4 cm
edition of IV (no APs) on Hahnemühle
$600

28. Molloy Dies I (2008)
drypoint
plate 22.3 x 15.3 cm, sheet c. 37.7 x 27.2 cm
edition of 7 (no APs) on Hahnemühle
$600

29. Molloy Dies II (2008)
drypoint
plate 22.5 x 15.3 cm, sheet c. 39 x 28.6 cm
edition of 7 + II APs on Hahnemühle
$600

30. Malone and Molloy I (2008)
drypoint and mezzotint
plate 15.2 x 22.3 cm, sheet c. 26.8 x 39.2 cm
edition of 8 on Hahnemühle + III APs on various papers
$500

31. Malone and Molloy II (2008)
drypoint and mezzotint
plate 15.3 x 22.6 cm, sheet c. 27 x 38.3 cm,
edition of 16 on Hahnemühle (#1 on Somerset) + VI APs on various
papers
$400

32. Malone and Molloy III (2008)
drypoint and mezzotint
plate 15.2 x 22.6 cm, sheet c. 26.5 x 39 cm
edition of 8 (no APs) on Hahnemühle
$500

33. Watt I (2008)
mezzotint
plate 17 x 12.6 cm, sheet c. 26.8 x 2 cm
edition of 4 (no APs) on Hahnemühle
$600

34. Not I (2008)
mezzotint
plate 17.2 x 12.7 cm, sheet c. 26.8 x 19l7 cm
edition of 7 (no APs) on Hahnemühle, # 3 on white
$600

35. ‘Sunburst’ (Third State) (2008)
etching and mezzotint
plate 19.5 x 98 cm, sheet c. 26.8 x 19.7 cm
edition of II (no APs) on Hahnemühle
$600

36. ‘Sunburs’ (Fourth State) (2008)
etching and mezzotint
plate 19.5 x 98 cm, sheet I and II 27 x 19 cm, III and IV c. 38 x 26.8 cm
edition of IV (no APs) on Hahnemühle
$600

37. ‘Sunburst’ (Fifth State) (2008)
etching and mezzotint
plate 19.5 x 98 cm, sheet c. 37.8 x 27 cm
edition of IV (no APs) on Hahnemühle
$600

38. Lozenges I (2008)
etching
plate 12.5 x 22.4 cm, sheet various sizes c. 27 x 38 cm
edition of 6 (no APs) on Somerset and Hahnemühle
$600

39. Lozenges II (2008)
etching and mezzotint
plate 12.4 x 2.4 cm, sheet c. 26.6 x 39 cm
edition of 8 (no APs) on Hahnemühle
$500

40. Seven Lines (2008)
etching
plate 24.4 x 16.1 cm, sheet c. 39.2 x 26.8 cm
edition of 8 on Hahnemühle + 2 APs on white
$500

41. F-Bite Pair (2008)
etching
2 plates – plate sizes 10.5 x 11 cm and 78 x 10.7 cm
sheet c. 39.3 x 28.5 cm and 39.3 x 26.7 cm
edition of 10 + 1 AP on Hahnemühle
the configuration of plates varies in each etching of the edition and were
arrived at by chance
$500