{"title":"Artists' Books \u0026 Ephemera","description":null,"products":[{"product_id":"carolee-schneemann-david-crosswaite-thames-crawling-1970-112744","title":"Small archive relating to Carolee Schneeman's 'Thames Calling' performance at the Underground Film Festival, National Film Theatre, London, 14th to 20th Sept 1970. [With:] the 'low cost edition' of Schneeman's Parts of a Body House Book.","description":"\u003ch4 class=\"srb-faux-head\"\u003ephotographs of a Carolee Schneemann performance\u003c\/h4\u003eCarolee Schneemann is a pioneering performance artist, filmmaker, and writer on the subjects of feminism, sexuality, and the ecstatic body as a source of knowledge. These photographs by David Crosswaite show her 'Thames Crawling' performance at the 1970  International Underground Film Festival at the National Film Theatre, London.\u003cbr\u003e\u003cbr\u003eIn a note to David Curtis, co-organiser with Simon Field of the Film Festival, Carolee Schneemann writes:\u003cbr\u003e\u003cbr\u003e'Dear Dave: PUBLIC NOTICE –Yugoslavian films lost to us – total black out on communications; at. this late date it must mean \"not possible\". For the late evening program, 17th, where we hoped to have the Yugoslavian films, I'll present an expanded cinema piece (Kinetic Theater my name for it) juxtaposing \"Fuses\" and \"Viet-Flakes\" on  buttresses outside, under the NFT Theater; a performance in a foam rubber environment which might engulf performers and spectators – an activation exchange. Call it for now, \"Thames Crawling\". Realisation with Joan Lifton.'\u003cbr\u003e\u003cbr\u003eDavid Crosswaite is a filmmaker and artist associated with the London Film-Makers' Co-operative (LFMC). He photographed many happenings and performances, and his photographs of 'Thames Crawling' are included in Carolee Schneemann's \u003cem\u003eParts of a Body House Book\u003c\/em\u003e (1972) artists' book. \u003cbr\u003e\u003cbr\u003eThe LFMC was founded in 1966 as a screening club at Better Books on Charing Cross Road, London, and grew into a pioneering organisation that played a crucial role in establishing film as an art form in the UK. In the 1990s, the LFMC merged with London Electronic Arts and became the Lux Centre, which later became Lux.\u003cbr\u003e\u003cbr\u003eSome photographs from 'Thames Crawling' feature in Parts of a Body House Book, which Schneemann describes as being 'an accumulation of letters, analyses of films and charts of sexual parameters which incorporate many of the issues that were of great concern in the early 1970s in London. The texts are centered on those aspects of the body that were then considered shameful or taboo or were simply ignored.'\u003cbr\u003e\u003cbr\u003eThis 'low-cost edition' of Parts of a Body House Book was published by the same press, two months after the 'deluxe edition' of 60 signed and numbered copies (plus 15 artist's proofs).\u003cbr\u003e\u003cbr\u003e\u003ci\u003e18 vintage gelatin silver photographs (105 x 164 mm, 4¼ x 6 ½ in); occasional minor marks, lightly curled, one with a caption and credit in black pen on verso.\u003cbr\u003e\u003cbr\u003e[With:] International Underground Film Festival 14th to 20th Sept 1970. London, National Film Theatre, 1970.\u003cbr\u003e\u003cbr\u003ePoster; (592 x 420 mm, 23¼ x 16½ in); yellow paper printed in red, near-fine.\u003cbr\u003e\u003cbr\u003e[and:] National Film Theatre. September 14th – 20th 1970. South Bank, London. International Underground Film Festival – provisional schedule (as of Sept 3rd.)\u003cbr\u003e\u003cbr\u003eProgramme\/schedule; two duplicated leaves of pale blue paper printed on both sides (330 x 203 mm, 13 x 8 in), folded for mailing, toning to edges with light wear at folds, very good.\u003cbr\u003e\u003cbr\u003e[and:] Oz News. International Film Festival Supplement. Compiled by Dannae Hughes, Ian Stocks and Albie Thoms. Oz 30 Oct 70. [London], Oz, October 1970.\u003cbr\u003e\u003cbr\u003ePoster\/insert; (614 x 422 mm, 24¼ x 16½ in); Oz News printed in black-and-white on one side, Mike McInnerney's tribute to Jimi Hendrix in black and blue on the other, machine-folded three times, three shore edge-tears, near-fine.\u003cbr\u003e\u003cbr\u003e[and:] SCHNEEMANN, Carolee. Parts of a Body House Book. Cullumpton, Devon, Beau Geste Press, March 1972.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"[SCHNEEMANN, Carolee]. CROSSWAITE, David.","offers":[{"title":"Default Title","offer_id":49462621438257,"sku":"112744","price":7500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/112744_6f0493c9-9c73-4224-bb06-2b2d9393f611.jpg?v=1790185619"},{"product_id":"crosby-this-is-tomorrow-whitechapel-gallery-1956-114700","title":"This is Tomorrow.","description":"\u003ch4 class=\"srb-faux-head\"\u003epioneering multi-disciplinary exhibition which radically affected architectural and artistic practice in the 1950s\u003c\/h4\u003eCatalogue for the landmark exhibition at the Whitechapel Gallery (9 August - 9 September 1956), which signalled the birth of British Pop Art. 'This is Tomorrow' was organised by architect and writer Theo Crosby, who proposed an exhibition based on a model of collaborative art practice. The 38 participants included architects James Stirling, Alison and Peter Smithson, and Erno Goldfinger; artists Eduardo Paolozzi, Victor Pasmore, Sarah Jackson, Mary Martin, Nigel Henderson, Richard Hamilton and other members of the Independent Group; and architectural critic Reyner Banham formed 12 mixed groups who each worked together towards the production of an installation exploring the 'modern' way of living characterised by mass production, use of novel materials, and the daily maintenance of living space and the built environment.\u003cbr\u003e\u003cbr\u003eThe printed wrapper lists the exhibition's participants and the following statement:\u003cbr\u003e'An exhibition is to take place at the Whitechapel from 9th August to 9th September, 1956 which will result from the direct co-operation of architects, painters, sculptors and others.\u003cbr\u003eThe object of this exhibition is to explore the common ground between art and architecture and to search for that unity of vision and total sense of environment which alone can make further development possible. This exploration is one of ideas. To enlarge the existing art work to an architectural scale is, of course, meaningless.... As a point of departure for further experiment the exhibition should be valuable and controversial, and show a new interpretation of materials and space.'\u003cbr\u003e\u003cbr\u003eSuch an example of collaboration was still unusual at the time but provided a blueprint for a cross-disciplinary collaborative approach in architecture and art; the ripples of influence it created over 60 years ago still resonate today.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition, one of 1300 copies; (165 x 165 mm, 6½ x 6½ in); illustrated throughout in black and white, design by Edward Wright slight age-toning to leaves; original spiral-bound printed covers, white and burgundy lettering to upper side, light wear to extremities, with an original kraft paper wrapper printed in black, near-fine; [126]pp.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"[THIS IS TOMORROW.] CROSBY, Theo (editor).","offers":[{"title":"Default Title","offer_id":55060850049399,"sku":"114700","price":2500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/114700_01_dcda97f5-f86b-4de9-89c3-d28136f29a91.jpg?v=1790186177"},{"product_id":"lucy-lippard-955000-first-edition-1970-115736","title":"955,000.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eCatalogue for the exhibition organised by Lucy Lippard at the Vancouver Art Gallery, January 13 to February 8, 1970, consisting of loose cards with a printed statement, documentation, or conceptual artwork by one of the contributing artists, which include Vito Acconci, Richard Artschwager, Michael Asher, John Baldessari, Robert Barry, Mel Bochner, Daniel Buren, Hanne Darboven, Walter de Maria, Dan Graham, Hans Haacke, Eva Hesse, Douglas Huebler, Joseph Kosuth, Barry Le Va, Sol LeWitt, Robert Morris, Bruce Nauman, Alan Ruppersberg, Robert Ryman, Ed Ruscha, Fred Sandback, Richard Serra, Robert Smithson, Jeff Wall, Lawrence Weiner and others.\u003cbr\u003e\u003cbr\u003e\u003cem\u003e955,000\u003c\/em\u003e is the second of four exhibitions, following \u003cem\u003e557,087\u003c\/em\u003e organised at the Seattle Art Museum (1969) and followed by \u003cem\u003e7,500\u003c\/em\u003e at the California Institute of Art, Valencia and \u003cem\u003e2,972,453\u003c\/em\u003e at the Centro de Arte y Comunicación, Buenos Aires. Each exhibition takes its name from the population of the city where it was held.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eExhibition catalogue; 138 printed cards, including title and blank rear cards (100 x 152 mm, 4 x 6 in); light wear to edges of several cards, minor toning, near-fine in the original worn manilla envelope.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"LIPPARD, Lucy.","offers":[{"title":"Default Title","offer_id":55060850540919,"sku":"115736","price":1250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/115736_87bc543c-9cda-445b-b292-3c21ee106e8e.jpg?v=1790168893"},{"product_id":"barbara-kruger-i-shop-therefore-i-am-1990-118283","title":"I Shop Therefore I Am.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eThis Artists' multiple was produced as an ephemeral item for use during Barbara Kruger's 1990 exhibition at Kölnischer Kunstverein.\u003cbr\u003e\u003cbr\u003e\u003ci\u003ePhotolithograph on a brown paper shopping bag (439 x 273 x 107 mm, 17¼ x 10¾ x 4¼ in), framed.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"KRUGER, Barbara.","offers":[{"title":"Default Title","offer_id":55817093513591,"sku":"118283","price":900.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/118283_01_777ccc0b-62d0-4dcf-b04d-8d4be87d2084.jpg?v=1790184679"},{"product_id":"herbert-matter-photograph-of-alexander-calders-circus-119372","title":"Alexander Calder's Circus.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eFor Calder, the circus offered a dynamic subject through which he could explore the core ideas of balance and movement that would define his artwork from 1931 onward, most notably in his invention of the 'mobile' sculpture.\u003cbr\u003e\u003cbr\u003eHerbert Matter (1907–1984) is regarded as one of the foremost figures of mid-century modern design. Born in Switzerland, he developed an interest in photography in Paris in the late 1920s and early 1930s while studying under Fernand Léger and Amédée Ozenfant. Matter worked briefly with Le Corbusier, A. M. Cassandre, and the type foundry Deberny et Peignot. After emigrating to the United States in 1936, he spent the next five decades working as a head designer for Knoll, a professor at Yale University, and as a design consultant for institutions including the Solomon R. Guggenheim Museum. Soon after his arrival, Matter also began creating what is now considered the most significant photographic documentation of Calder's life and work, their long friendship affording him unprecedented access.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eGelatin silver photograph (278 x 356 mm, 11 x 14 in), stamped on verso, fine.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"MATTER, Herbert.","offers":[{"title":"Default Title","offer_id":56288635388279,"sku":"119372","price":1750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/119372_29d34ce9-3661-4aa9-9508-2141c2d4f807.jpg?v=1790188311"},{"product_id":"113068","title":"Splitting.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eSplitting is the second of Gordon Matta-Clark's three artists' books. It documents one of his most famous works: the vertical bisection of an abandoned house in Englewood, New Jersey, owned by his dealers Holly and Horace Solomon and scheduled for demolition. The book consists of short descriptive texts, photographs, and photo collages which show the transformation of the building. Using a hand-held reciprocating saw Matta-Clark cuts two parallel lines one inch apart through all structural surfaces, then bevels down the cinder blocks at the base of the building and gently tips half of the structure back on its foundation. The final image is a three-panel folding plate depicting a composite cross-section of the house. The finished work stood for three months before the scheduled demolition.\u003cbr\u003e\u003cbr\u003e'Although it may appear modest and somewhat offhand, Splitting plays an important role in Matta-Clark's attempts to shape the complex activities of which it is part. As the scholar Anne M. Wagner has observed, the work's title can be understood to refer not just to the physical act of cutting the house in half but also to the strategic accumulation and dispersal of the project as a whole, its \"splitting\" into its various parts: action, photographs, a suite of collages, an artist's book. \"This collection of artifacts,\" writes Wagner,\"' should not be seen as merely indexing the artist's actions. On the contrary, each registers, defines, understands, revises, argues, and amplifies an emergent and fluctuating set of claims. What this means is that Splitting immediately split into a work that its maker recognized as something to be mediated in order to be explained and known... Each medium tells its separate tale\"'(Artists Who Make Books, 182).\u003cbr\u003e\u003cbr\u003e\u003ci\u003eArtists' book, oblong 4to (178 x 286 mm); black \u0026amp; white photographs and photocollages printed in offset, photographic plate printed in offset (398 x 267 mm) machine-folded twice and mounted to inside rear cover as issued, pencil note to first page; white wrappers printed in black, saddle-stapled and pasted into covers at spine, very minor toning at spine, a close to fine copy; [32]pp.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eLailach, Printed Matter: Die Sammlung Marzona in der Kunstbibliothek \/ The Marzona Collection at the Kunstbibliothek (2005), 140; Moeglin-Delcroix, Esthétique du livre d'artiste 1960\/1980 (2012), 288-9; Roth\/Aarons, Artists Who Make Books (2017), 182-183, (92).","brand":"MATTA-CLARK, Gordon.","offers":[{"title":"Default Title","offer_id":57001143894391,"sku":"113068","price":1250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/113068_01_68f0693d-b205-46e5-ab15-9f7feac1bdb4.jpg?v=1790182700"},{"product_id":"john-baldessari-choosing-green-beans-1972-first-edition-111122","title":"Choosing: Green Beans.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eAn exhibited copy of this 1970s conceptual artists' book. In the introduction, Baldessari explains that \u003cem\u003eChoosing Green Beans\u003c\/em\u003e documents a game devised for two players: 'This work is part of a series of works about choosing. In this version a group of green beans was available from which to choose. A participant was asked to choose any three beans from the group for whatever reasons he\/she might have at that moment. A photograph was taken of the selection process. The chosen bean was carried over; the other two beans not chosen were discarded; two new beans were added. The next choice was made, and so on. Each of the participants develops strategies unknown to the other player as the selection process continues until all the beans are used.'\u003cbr\u003e \u003cbr\u003eThis copy has the ink stamp dated 27 Juli 1974 of the Art Information Centre (1969-1993), a non-profit organisation established by Peter van Beveren in Middelburg, Holland, which collected printed material related to contemporary art. The hole punched through one corner allowed the book to be suspended from the ceiling when exhibited.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition; 4to (296 x 207 mm, 11¾ x 8¼ in); colour photographs printed in offset, introduction by Baldessari in Italian and English, design by A. Sganzerla; side-stapled, printed card wrappers, text in black, lightly toned, light spotting, handling creases, hole punched through one corner to facilitate display in an exhibition, 'Art Information Centre' ink stamp on first page, a very good copy; [28]pp.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eBook as Artwork 1960-1972 pp93; Esthétique du Livre d'Artiste 1960-1980 pp276; The Photobook A History II, pp146-7.","brand":"BALDESSARI, John.","offers":[{"title":"Default Title","offer_id":57001144385911,"sku":"111122","price":750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111122_40180f70-efa3-448e-b4e3-729c70e297ca.jpg?v=1790189572"},{"product_id":"119373","title":"Five texts.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eFive texts by pioneering conceptual artist Vito Acconci (1940-2017), who began his career publishing poetry in mimeographed publications in the 1960s.\u003cbr\u003e\u003cbr\u003eThese were sent to Arthur Danto, art critic and professor in the Department of Philosophy at Columbia University, New York in 1988.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e[Television, Furniture, \u0026amp; Sculpture: The Room With the American View, 1984] 9 corner-stapled leaves of typescript photocopied on one side only, numbered and with corrections in black ink; [A Possible Model For Fairy Tales, 1986] 1 leaf of typescript photocopied on one side only, corrections in black ink; [Playing With the Word 'Doll', 1985] 7 corner-stapled leaves of typescript photocopied on one side only, numbered in black ink; [Notes on Language, 1986] 2 corner-stapled leaves of typescript photocopied on one side only, with corrections in black ink; [Notes on Making Shelter, April 1985 (revised 1988)] 3 corner-stapled leaves of typescript photocopied on one side only, together in a worn manilla envelope postmarked and addressed to Arthur Danto in Acconci's hand.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"ACCONCI, Vito.","offers":[{"title":"Default Title","offer_id":57078803333495,"sku":"119373","price":625.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/119373_52270327-0b89-475d-8bcc-1007d990d86f.jpg?v=1790183100"},{"product_id":"113417","title":"James Joyce 1882–1941. Wednesday, 14th June, to Wednesday, 12th July, 1950. Institute of Contemporary Arts 17-18 Dover Street Piccadilly W.1.","description":"\u003ch4 class=\"srb-faux-head\"\u003einscribed by Richard Hamilton\u003c\/h4\u003eInscribed to Hilary Gerrard, Ringo Starr's manager for over thirty years and a director of the Beatles company Apple Corps.: 'For Hilary \/ Richard Hamilton', and with a signed example of the private view invitation.\u003cbr\u003e\u003cbr\u003eThe Institute of Contemporary Arts (ICA) was founded by Roland Penrose, Peter Watson, Herbert Read, Peter Gregory, Geoffrey Griason, and E. L. T. Messens in 1946 as a forum for artists, writers, and scientists to explore ideas outside the confines of the Royal Academy. In 1950, the ICA moved into its first permanent premises, in Dover Street, London. The first significant exhibition at Dover Street was 'James Joyce: His Life and Work', a collection of Joyce's literary ephemera with a supporting program of events, including lectures and a recital of Joyce's poems set to music. T. S. Eliot opened the exhibition, and Richard Hamilton was responsible for its entire display and design, including this catalogue, which features a list of all exhibited items, photographs of Joyce, an introduction by T. S. Eliot, and contributions by Bernard Shaw, Edmund Wilson, Frank Budgen, Elizabeth Bowen, Cyril Connolly, Augustus John, and André Gide.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFolding exhibition catalogue inscribed by Richard Hamilton in pencil (101 cm x 76 cm, 39¾ x 30 in), machine-folded three times, light toning, occasional wear to folds. [Framed with:] the original private view invitation, also signed by Hamilton on pencil.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"[HAMILTON, Richard].","offers":[{"title":"Default Title","offer_id":57095575372151,"sku":"113417","price":8750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/113417_01_adb7c5d8-e7f9-424d-8dc5-f0c2cdd4c18c.jpg?v=1790182742"},{"product_id":"charles-henri-ford-spare-parts-presentation-copy-123441","title":"Spare Parts.","description":"\u003ch4 class=\"srb-faux-head\"\u003ePresentation copy\u003c\/h4\u003eFirst edition, a presentation copy, inscribed:\u003cbr\u003e\u003cbr\u003e'for Margie \u0026amp; Hal: \/ welcome aboard! \/ Charles Henri'.\u003cbr\u003e\u003cem\u003e\u003cbr\u003eSpare Parts \u003c\/em\u003eis the first published edition of Charles Henri Ford's paste-up poster poems (graphi-poems, or Fordographs), with boards designed by Stan Brakhage. In a contemporary advertisement for this book, Allen Ginsberg describes 'diction so common it's cut out of mass print, then shuffled on the table and recomposed according to Ford's private significances. Spare Parts is genitals. Awareness of the implicit bias and camp of marketplace yatter emerges after decades of unconscious commerce. What's further odd is the surreal charm of the phrasal juxtapositions; eccentric orthography of multitudinous type-fonts accentuates the charm: Ford is a practiced old connoisseur of XX Century ready-made speech. Everything from rosejoint to King Lear's unforgettable cry.'\u003cbr\u003e\u003cbr\u003eFord occupies an interesting position in twentieth-century American art and literary circles. He was a poet, artist, and filmmaker who, with Parker Tyler, edited and published View (1942-1947), the influential art and literary magazine. Ford befriended Andy Warhol in the early 1960s, and the two started attending film screenings together, with Ford introducing Warhol to Jack Smith and other underground filmmakers.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition, number 542 of 850 numbered copies and 100 hors de commerce copies numbered I - C, this copy inscribed by Charles Henri Ford in green pen on half-title; 4to (343 x 245 mm, 13½ x 9¾ in); collages, photographs, and paste-up poems printed as lithographs on various coloured paper stock, small abrasion to corner of first page, short tear to one leaf; illustrated endpapers, illustrated paper-covered boards designed by Stan Brakhage, light wear to extremities and bottom edge, top corners tapped, illustrated dust-jacket, wear to edges, chip to top edge of lower panel, an excellent in a good dust jacket; [160]pp.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"FORD, Charles Henri.","offers":[{"title":"Default Title","offer_id":57467200307575,"sku":"123441","price":1500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/123441_01_70814a02-af53-4da1-a914-531a40254669.jpg?v=1790185748"},{"product_id":"kurt-schwitters-hutchinson-camp-almanac-1940-111349","title":"The Camp no. 13\/14 Almanac 1940-41.","description":"\u003ch4 class=\"srb-faux-head\"\u003einternment camp almanac inscribed by Kurt Schwitters\u003c\/h4\u003eThe Camp Almanac 1940-41 is a special end-of-year double issue of The Camp newspaper, produced by detainees of Hutchinson Internment Camp on the Isle of Man, intended to showcase the work of émigré artists and writers detained there whilst also reflecting on the first six months of life at the camp. It includes contributions by several prominent artists, including Kurt Schwitters, who contributed a portrait of The Camp editor Michael Corvin (pseud. Leo Freund). This copy belonged to Siegfried Oppenheimer, a German art dealer interned at Hutchinson; many of the contributions are inscribed to him and are accompanied by several related items, including original examples of artwork produced by internees at the Hutchinson Camp on the Isle of Man and correspondence.\u003cbr\u003e\u003cbr\u003eInitially, art materials were scarce in the camp, and all the artists had to improvise to continue to work while interned. Lavatory paper, newspapers, wallpaper, napkins, and tablecloths were all used to write, draw, and print on. Linocut prints were made using strips of linoleum removed from kitchen and bathroom floors, which were cut into using kitchen utensils, and printed using a crude ink made using crushed graphite from pencils or ground brick dust mixed with margarine or the olive oil from tinned sardines. The inked blocks were passed through a laundry mangle, which applied enough pressure to make a satisfactory print onto whatever paper could be found.\u003cbr\u003e\u003cbr\u003eSiegfried Oppenheimer, an art dealer associated with the well-known Margraf firm in Berlin, took it upon himself to represent the Hutchinson visual artists and approached the camp commander to accommodate their needs. Oppenheimer was able to secure a promise that the camp commander would supply materials and studio space for 'his' artists, and in exchange, they would stage an exhibition of their work. Two art exhibitions were held at Hutchinson, the first in September, followed by a second in November 1940. After his release, Oppenheimer seems to have remained in Britain and continued to operate as an art dealer, representing the work of his fellow internee Erich Khan and lending support to the Ben Uri Art Society and the Friends of the Arts Museums of Israel.\u003cbr\u003e\u003cbr\u003eAll copies differ in terms of their content due to the ad hoc nature in which they were assembled and are down to the personalised choices by the person making each copy. This copy has 22 contributions on 25 sides.\u003cbr\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003eThe following contributors have signed or inscribed their pages:\u003cbr\u003e\u003cbr\u003eMichael Corvin, Fritz Kramer, Fred Uhlman, Kurt Schwitters, Erich Kalman, Paul Hamann, O. Wenzel, Adolf 'Dol' Mirecki, Fritz Solomanski, Ernst Müller-Blensdorf, K. Simmel[?], Erich Kahn, Bruno Ahrends, and Hellmuth Weissenborn.\u003cbr\u003e\u003cbr\u003eOppenheimer's own contribution, 'Mission of Art', is signed by the following: Peter Fleischmann, Fritz Solomanski, Ernst Schwitters-Guldahl, Fritz Kraemer, Klaus Hinrichsen, Dol. A. Mirecki, [?], Fred Uhlman, Bruno Ahrends, [?], Ernst Müller-Blensdorf, Erich Kahn, Richard Friedenthal [?], Heinrich Fraenkel, and Curt Sluzewski.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e20 mimeographed foolscap leaves (343 x 216 mm), with an additional two leaves present in duplicate. 16 pages partially coloured in pastels and watercolour by the artists. 15 leaves are signed or inscribed to Siegfried Oppenheimer, including Kurt Schwitters' portrait of editor Michael Corvin, additionally Oppenheimer's own contribution 'Mission of Art' is signed by 15 of his fellow internees. Light wear and occasional foxing to leaves. Loose in the worn original manila wrappers (400 x 240 mm) with 'HC' monogram in pastel to front and offsetting from a taped letter to inside of the wrapper.\u003cbr\u003e\u003cbr\u003e[With the following additional items:] \u003cbr\u003e\u003cbr\u003eMÜLLER-BLENSDORF, Ernst. An original drawing (230 x 165 mm) mounted on paper (338 x 212 mm); wear and stain to mount. Inscribed by Blensdorf to Siegfried Oppenheimer in pencil on the mount and signed Ernst M. Blensdorf \/ Hutchinson \/ 24.12.1940.'\u003cbr\u003e\u003cbr\u003eMÜLLER-BLENSDORF, Ernst. Another original drawing (177 x 207 mm) mounted on paper (338 x 212 mm); wear and stain to mount. Inscribed by Blensdorf to Siegfried Oppenheimer in pencil on the mount and signed Ernst M. Blensdorf \/ Hutchinson Camp \/ 29.12.1940.'\u003cbr\u003e\u003cbr\u003eWEISSENBORN, H. Linocut print on paper (image 91mm x 182 mm; paper 345 x 224 mm); edges creased signed: 'Douglas 1940 \/ H. Weissenborn'.\u003cbr\u003e\u003cbr\u003eDOL [A. Mierecki]. Caricature print of Hitler as a snowman (115 x 87 mm) [1940].\u003cbr\u003e\u003cbr\u003eWEISSENBORN, Helmuth. 'Le Petit Souper Menu' for 26 December 1940. (265mm x 206 mm), hand-coloured and addressed to S. Oppenheimer, Helmuth Weissenborn's London address in black ink on the verso.\u003cbr\u003e\u003cbr\u003eOne leaf (338 x 212 mm) from the previous issue of The Camp, with what appears to be a\u003cbr\u003eletter drafted in pencil on the verso.\u003cbr\u003e\u003cbr\u003eRAWICZ, Maryan. Autograph letter signed 'Maryan Rawicz' to Siegfried Oppenheimer's wife, written shortly after Rawicz was released. London. 25 October, 1940. 8vo (232 x 172 mm), [2]pp on 1 sheet, written in black ink on recto and verso; torn along horizontal and vertical folds, strengthened with yellowing tape.\u003cbr\u003e\u003cbr\u003eMÜLLER-BLENSDORF, Ernst. Autograph letter signed 'Ernst M-Blensdorf' to Siegfried Oppenheimer, in which he discusses life in England after his release from Hutchinson Camp. Strathaven, Lanarkshire. 9 August, 1941. 8vo (228 x 177 mm), [4]pp on two sheets, written in black ink on recto and verso; creased where folded.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"[SCHWITTERS, Kurt et al.] CORVIN, Michael (pseud. Leo Freund) (editor).","offers":[{"title":"Default Title","offer_id":57478936297847,"sku":"111349","price":25000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111349_0b6af44a-4c49-4789-b5a8-1bed910109c8.jpg?v=1790168811"}],"url":"https:\/\/shapero.com\/en-us\/collections\/avant-garde-protest-artists-books-ephemera.oembed","provider":"Shapero Rare Books","version":"1.0","type":"link"}