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Off the page: contemporary artist’s books from Picasso to Clemente

Off the page
contemporary artist’s books from Picasso to Clemente

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Ever since books first appeared, the compulsion to embellish them has coexisted with the evolution of the form itself — from medieval illuminated manuscripts to the scientific treatises of the 17th, 18th and 19th centuries associated with the voyages of discovery of the period, through to the beaux-livres of the 19th and 20th centuries.

The last half of the 20th century has seen a renaissance in the form, attracting some of the foremost artists of the period artists such as Pablo Picasso, Roy Lichtenstein, Robert Motherwell, Jasper Johns, Jim Dine, Joan Miró, Louise Bourgeois, Barbara Kruger, Francesco Clemente — as well as a host of other less-well-known artists who have worked in the field.

Mostly, the artists featured in Off the page have been attracted to the book form not necessarily on the basis of a text — indeed sometimes there is no text — but because the form itself offers visual possibilities not available elsewhere. Where there is an association between text and image, it is loose, free, associative rather than prescriptive. Sometimes — one thinks of Picasso’s La Célestine for example — the result is almost of the classic illustration-to-text type. But what ‘illustrations’! In all, the emphasis is on the visual. In Off the page there are books as books, books as objects, books as sculpture, books as designs in light, books as oddities. In other words, Books-as-Art.

Take, for example, La nouvelle chute de l’Amérique (The new fall of America] 1992 by Roy Lichtenstein. La nouvelle chute contains 10 etchings by Lichtenstein and 11 poems by the Beat poet Allen Ginsberg. Typically for Lichtenstein, it revisits, reinvents and rearticulates imagery drawn from his earlier works. The image which opens the work is classic Lichtenstein: taking the two graphic fundamentals of his own signature style, dots and stripes, in themselves derived from the so-called ‘low culture’ cartooning that formed the staple of much of his work, he applies these to the quintessential American icon — the Stars and Stripes. The iconoclastic, reductive humour of this mock heroic image foreshadows what is to follow, and what follows is a tongue-in-cheek, new age sensualist’s journey across and through the America of one’s Self. On the way, nothing is sacred. Under Lichtenstein’s ironic eye, Hemingwayesque hills like white elephants, for example, end up looking like something altogether different.

La nouvelle chute is Lichtenstein’s only ‘illustrated’ book, and as such it is an exceptional example of the contemporary livre-de-luxe, as unique in its bringing together two American artists, each icons of their own times, as it is unsurpassed in the eloquence with which it juxtaposes their parallel preoccupations. This is a stunningly beautiful work. In Off the page all 10 images by Lichtenstein are on display, as well as the book itself.

Similarly, Foirades/Fizzles 1976 by Jasper Johns, to a text by Samuel Beckett, acts almost as a catalogue of Johns’s work to date. Here are the flagstones, arranged and rearranged; the number series, obsessively reinvented and rearticulated; and the exquisite, truncated torsos lying vivisected on the page — all are made manifest in etchings, aquatints, and drypoints of the most stunning and subtle articulation. And juxtaposed to this is Samuel Beckett’s typically absurdist and non- logically related text — a text which begins with the classically Beckettian: ‘I gave up before birth ...‘; and whose words ‘I’ll tell you ...‘ and ‘I’ll be inside ...‘ echo and re-echo its claustrophobic spiral into self-annihilating narcissism. Again, Foirades/Fizzles is a superlative example of the contemporary livre-d’artiste produced by an artist at the height of his powers.

If La nouvelle chute and Foirades/Fizzles represent opportunities to recapitulate work already done, La Célestine 1971 by Pablo Picasso represents something quite different. Towards the end of his life, in a now famous example of late creative outpouring, Picasso returned to etching as an image-making process after a lapse of some years. And he did so with a vengeance. Between 16 March and 5 October 1968 — a period of a little more than six months — Picasso, then in his late eighties, produced a total of 347 prints. These went on to become known as the famous ‘series of 347’. La Célestine belongs to this body of work. Illustrating the scandalously erotic late 15th-century text attributed to Pablo de Rojas, La Célestine is essentially a tragicomedy about the corruption of innocence — the old crone Celestina is importuned by Calisto to secure the love of the chaste Malibea who spurns him. It is also technically a tour de force, breaking many of the established rules of what supposedly could and couldn’t be done in etching. It is clear, however, that in terms of subject matter Picasso was more interested in the vicarious eroticism of the encounters orchestrated by Celestina and the two lovers, encounters in which she is always voyeuristically present, than in the eventual, tragic outcomes which await all three.1 In addition to the book, the Gallery owns four individual images from the work — these are also on display.

In contrast to this, The departure of the Argonaut 1986 has a more vividly contemporary feel. Illustrated by Francesco Clemente to a text by Alberto Savinio — originally entitled Hermaphrodito and written in 1918 — The departure of the Argonaut is in fact the travelogue and wartime diary of Alberto Savinio. Born Andrea de Chirico, and brother to the more famous Giorgio de Chirico, Savinio was one of the seminal figures in 20th-century Italian arts and letters. Clemente’s ‘illustrated’ version of the book is, without doubt, one of the most beautiful books the 20th century has produced. On unbound, luminous, hand-made Japanese ‘kozo’ paper, the lithographs, when displayed in groups, take on an unsurpassed visual lyricism, an effect that is not soon forgotten.

Sometimes the works are less about text, or less predominantly so, than about sculptural form. Ronald King’s The white alphabet 1984, for example, is a brilliant exploration of the architectural possibilities of the alphabet. Its concertina-ed, cut-out shapes are a masterpiece of simplicity. Regnes [Kingdoms] 1961, by Etienne Hajdu, with poetry by Pierre Lecuire, on the other hand, seeks to explore the relationship between surface and light. Using cut metal plates as a means to emboss paper sheets, Hajdu gives us pages as topography. Raked light pooled across two adjacent pages reveals the design embossed on one, and in relief on the other. Eloquently simple, the effect is astonishingly elegiac, echoing as it does the tidal movement of light from early morning to late afternoon. This is one of a number of books in the exhibition that explores the deceptively simple phenomenon of light falling on paper to stunning effect.

There are meditations, such as Robert Motherwell’s El negro [Black] 1983, which continues his preoccupation with the Spanish Civil War and whose result here mirrors that of his larger paintings dealing with the same subject. And there are meditations of another kind — on the comedy of life — such as Patrick Caulfield’s mordant commentary in Quelques poèmes de Jules Laforgue [Some poems by Jules Laforgue] 1973, and Walasse Ting’s brilliant homage to the art of the sixties called 1 cent life 1964. 1 cent life demonstrates that life may be cheap, but it can also be exhilarating, funny, moving and extraordinarily varied.

And then there’s the purely mad, quirky, or macabre, such as Louise Bourgeois’s two-volume Homely girl: A lift 1992, with each volume’s identical text — that of Arthur Miller’s Homely girl — differently illustrated: one with the ‘innocence’ of flowers, the other with photographs of huge, grotesque, ophthalmic eyes, which, as you turn the pages, shockingly stare up at you. You look on, and the book looks back.

But nothing is quite like You’re alone 1992 by Jose Maria Sicilia. Using a text by Thomas Lux (which appears, coincidentally, as an opening citation to the novel Suicide Hill by James Ellroy of L.A. Confidential fame), this is one of the strangest and most evocative books in the exhibition. It consists of 12 wax-coated thread-embedded pages of various degrees of luminosity, some of which feature tattered cut-outs and holes, in which the appropriately named Lux’s macabre text appears and reappears. The text itself — the final, imagistic thoughts of a dying man — with its Yeatsian echoes and its last-line homophonic ambiguity; reads:

You’re alone
And you know a few things
The stars
Are pinholes
Thorn rats snakes
In the hangman’s mask
The chased and the chase

The object as object is extraordinarily, self-consciously fragile, insistently delicate. The effect of the work on the other hand is both sinister — given the nature of Lux’s poem, a meditation on death — and strangely beautiful; and, at the same time, evocative of the ephemeral nature of human existence.

All is not serious however. One of the wittiest works in the exhibition is Dottie Attie’s Mother’s kisses 1982. Based on Bronzino’s The allegory of Venus and Cupid c.1545, it begins: ‘Mother and he had always been very close. They did everything together’; and its embedded commentary continues on in its pseudo-innocent, deadpan, school primer-like prose to reveal itself as a slyly erotic exploration of the Oedipal underpinnings of its much more famous antecedent. And Mother’s kisses is not the only work to explore its sexual content in a humorous way. Few people know that the Nobel prize winning German author, Günter Grass began his career as a visual artist. He is represented by his fabulously irreverent comic fairy-tale - a sort of carnalised Alice in Wonderland — Mit Sophie in die Pilze gegangen [Frolicking amongst the toadstools with Sophie] 1976. And then, of course, we have David Hockney’s Two boys aged 23 or 24 from his Fourteen poems by C.P. Cavafy 1967, his sublimely eloquent, subdued, intimately observational image of two young, contented men at peace in their early morning postcoital bed.

The National Gallery of Australia, then, has an extraordinary collection of contemporary books as part of its ‘Illustrated’ Books Collection, covering an equally extraordinary range of physical manifestations. Off the page showcases this collection. In addition, it showcases the works of a number of major contemporary artists preoccupied with exploring in unexpected and often dazzling ways what appears at first sight to be a traditional form. The results, the works themselves, show — in ways that are brilliant, quirky, vibrant, astonishing, erotic and amusing — that it most definitely is not.

And if one is thinking exclusively of books in display cases, think again. Sure, there are display cases, but most of these books are unbound, and as such they are out there, on the walls, proclaiming themselves as the bold, brilliant visual objects that they are. Off the page represents a rare opportunity to see major contemporary artists in the context of an exhibition exclusively devoted to their work in book form and, as such, it should not be missed.

Mark Henshaw
Curator, International Prints, Drawings and Illustrated Books
National Gallery of Australia

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Jaklyn Babington and Mark Henshaw
All works are in the collection of the National Gallery of Australia.
Measurements are given in centimetres, height before width; single measurements refer to page sizes; double measurements give image size followed by sheet size.

United States born 1938
Mother’s kisses by Dotty Attic
New York: Solo Press Inc. 1982
hand-coloured lithograph, letterpress
12.0 x 12.0; 15.0 x 15.0 cm (small sheets)
77.8 x 60.6; 91.2 x 67.8 cm (large sheet)
edition: 13/25

Enrico BAJ
Italy born 1924
Salutz, I by Giovanni Giudici
Milan: Grafica Uno 1986
aquatint, etching, appliqued paper, letterpress
32.6 x 45.2 cm
edition: 11/99

Francis BACON
Ireland 1909 – 1992 Spain
Plate 1 from La mysticite charnelle de René revel [The carnal mysticity of René Crevelj by Eddy Batache
Paris: Editions Georges Visat 1976
etching, letterpress
26.4 x 22.8; 38.0 x 28.2 cm
edition: IXJXLV from the edition of 100, pIus 45 hors commerce

Italy born 1933
Maria Luisa DE ROMANS
Italy born 1934
Italy born 1933
Italy born 1928
Gold standard by Grytzko Mascioni
Milan: Grafica Uno 1984
etching, aquatint, letterpress
20.0 x 20.0; 30.2 x 39.8 cm
edition: 9/85

Richard BOSMAN
Madras, India born 1944
United States from 1969
Captivity narrative of Hannah Duston by Cotton Mather, John Greenleaf Whittier, Nathaniel Hawthorne and Henry David Thoreau
San Francisco: Anon Press 1987
woodcut, letterpress
42.5 x 32.0 cm
one of an unnumbered edition of 400

France born 1911
United States from 1938
Plates 1, 4, 5, 7, 8 and 9 from He disappeared into complete silence by Louise Bourgeois
New York: The Gemor Press 1947
line-engraving, letterpress
25.5 x 17.8 cm
one of an unnumbered edition of 44

Homely girl, A life
volumes I and II by Arthur Miller
New York: Peter Blum Editions 1992
etching, photo-lithography, letterpress
29.2 x 22.0 cm
number 18 from the deluxe edition of 100
Gift of Orde Poynton Esq. CMG 1995

Great Britain born 1936
Plates 4, 5, 16, 18, 20 and 22 from Quelquespoemes de Jules Laforgue [Some poems by Jules Laforgue]
London: Petersburg Press 1973 (in association with Waddington Press)
screenprint, letterpress
40.2 x 35.2 cm
edition: 92/200 from edition B of 200, plus 20 artist's proofs

Great Britain born 1945
Red bird with poetry by Christopher Logue (based on the Spanish of Pablo Neruda)
Guildford: Circle Press 1979
photo-screenprint, letterpress
37.8 x 28.4 cm
edition: 198/300
Gift of Martin S Ackerman 1989

Francesco CLEMENTE
Italy born 1952
Pinxit by Francesco Clemente
London: Anthony d’Offay, and Rome: Gian Enzo Sperone 1981
lithography, photo-lithography, letterpress
32.8 x 25.8 cm
edition: unknown

White shroud
by Allen Ginsberg
Madras: Kalakshetra Publications Press 1984
photo-lithography, pochoir
39.0 x 30.2 cm
edition: 793/1111

Pages 14, 15, 16, 26, 34 and 36 from The departure of the Argonaut by Alberto Savinio
New York, London: Petersburg Press 1986
lithography, letterpress
65.0 x 50.0 cm
edition: 29/50 from the portfolio edition
Gift of Orde Poynton Esq. CMG 1992

United States born 1935
The Apocalypse: The Revelation of Saint John the Divine from the King James version of the biblical text
San Francisco: Anon Press 1982
woodblock, letterpress
37.8 x 27.8 cm
edition: 143/150

The bending of the bow
by Neil Curry
London: Enitharmon Press 1993
lithography, photo-gravure, etching, letterpress
30.6 x 21.6 cm
edition: 25/75
Gift of Orde Poynton Esq. CMG 1995

Plates 4 and 14 from the portfolio Glyptotek
New York: Jim Dine, Pace Editions and London: Waddington Graphics 1989
etching, aquatint
54.8 x 39.0; 80.5 x 61.0 cm
edition: 25/60

Great Britain born 1933
Blind date by Thomas Meyer
Guildford: Circle Press 1979
etching, embossing, letterpress
30.0 x 29.0 cm
edition: 139/300
Gift of Martin S Ackerman 1989

Italy born 1928
Song of Songs from the biblical text
New York: Raphael Fodde Editions 1990
etching, aquatint, letterpress
38.0 x 28.2 cm
edition: 8/100
Gift of Orde Poynton Esq. CMG l97

Libro de payasos y bufones [Book of clowns and buffoons]
by Giannina Braschi
Milan: Grafica Uno 1987
aquatint, letterpress
21.8 x 17.4 cm
edition: 15/125

Günter GRASS
Germany born 1927
Mit Sophie in die Pilze gegangen [Frolicking amongst the toadstools with Sophie] by Günter Grass
Milan: Grafica Uno 1976
lithograph, letterpress
49.8 x 35.4 cm
edition: 77/135

Etienne HAJDU
Romania born 1907
France from c.1915
Regnes [Kingdoms]
Paris: Pierre Lecuire 1961
inkless embossing, letterpress
47.8 x 36.2 cm
edition: 50/98

Stanley William HAYTER
Great Britain 1901–1988
Death of Hektor by Brian Coffey
Guildford: Circle Press 1979
drypoint, etching, photo-engraving, letterpress
39.6 x 29.2 cm
edition: 295/300
Gift of Martin S. Ackerman 1989

Great Britain born 1937
Six fairy tales from the Brothers Grimm
London: Petersburg Press 1969
etching, aquatint, letterpress
44.6 x 31.0 cm
edition: 49/100 from edition D

The enchantress with the baby Rapunzel 1969
Illustration no.14 from Six fairy tales from the Brothers Grimm
London: Petersburg Press 1970
etching, aquatint
27.1 x 23.3; 45.3 x 31.4 cm
one from an unnumbered edition of 100, plus 15 artist's proofs

The haunted castle 1969
Illustration no.23 from Six fairy tales from the Brothers Grimm
London: Petersburg Press 1970
etching, aquatint
33.2 x 30.9; 45.0 x 31.0 cm
one from the unnumbered edition of 100, plus 15 artist's proofs

Two boys aged 23 or 24 1966
Illustration no.2 from Fourteen poems by CP Cavafy
London: Editions Alecto 1967
etching, letterpress
34.7 x 22.4; 57.2 x 39.3 cm
one of 15 artists proofs from edition D

Great Britain born 1932
The way we live now by Susan Sontag
London: Karsten Schubert 1991
lift-ground aquatint, tempera, letterpress
28.5 x 21.2cm
edition: 82/200
Gift of Orde Poynton Esq. CMG 1995

Georges HUGNET
France 1906–1974
1961 by Georges Hugnet
Paris: Chez l’auteur 1961
photo-lithography, letterpress
22.4 x 14.0 cm
edition: 48/500
Gift of Virginia M. Zabriskie 1993
1993 .706

Japan born 1934
Gli angeli mi disturbano [Angels disturb me] by Roberto Sanesi
Milan: Grafica Unu 1969
aquatint, burin, roullette, photo-gravure, letterpress
19.8 x 23.2 cm
edition: 45/135

Jasper JOHNS
United States born 1930
Foirades/Fizzles by Samuel Beckett
New York: Petersburg Press 1976
etching, aquatint, open-bite, drypoint, letterpress
33.2 x 25.0 cm
edition: 83/250

Ronald KING
Great Britain born 1932
Antony and Cleopatra by William Shakespeare Guildford,
Guildford: Circle Press 1979
photo-screenprint, letterpress 38.4 x 28.4 cm
edition: 75/300
Gift of Martin S Ackerman 1989

The left-handed Punch
by Roy Fisher Guildford,
Guildford: Circle Press 1986
silkscreen, letterpress, cut-outs 37.8 x 28.0 cm
edition: 6/80
Gift of Orde Poynton Esq. CMG 1995

The white alphabet
Guildford: Circle Press 1984
embossing, cut-out
27.0 x 24.8 cm
edition: 90/150
Gift of Orde Poynton Esq. CMG
1995 1995.614

United States born 1932
Kaddish with white shroud and black shroud by Allen Ginsberg
San Francisco: Anon Press 1992
lithography, letterpress
31.4 x 25.2 cm
edition: 2/200
Gift of Orde Poynton Esq. CMG 1993

Barbara KRUGER
United States born 1945
My pretty pony
by Stephen King
New York: Library Fellows of the Whitney Museum of American Art 1988
lithography, screenprint, letterpress
50.9 x 34.3 cm
one of an unnumbered edition of 250
Gift of Orde Poynton Esq. CMG 1995

Germany born 1959
Der Sand aus den Urnen [The sand out of the urns] by Paul Celan
New York: Kaldewey Press 1994
embossing, letterpress
36.6 x 27.2 cm
one of 15 unnumbered deluxe copies
Gift of Orde Poynton Esq. CMG 1996
1996. 130

Bun-Ching LAM
Macau born 1954 Quatre poemes [Four songs] by Samuel Beckett
New York: Kaldewey Press 1986
37.2 x 37.0 cm
one of an unnumbered edition of 50
Gift of Orde Poynton Esq. CMG 1995

United States 1923–1997
Plates 1–10 from La nouvelle chute de l’Amerique [The new fall of America] with poems by Allen Ginsberg
Paris: Les Editions du Solstice 1992
etching, aquatint, letterpress
47.9 x 35.3 cm
number V/XLV from an edition of 80, plus 45 hots commerce
Gift of Orde Poynton Esq. CMG 1995

Plates 10 and 12 from Femmes [Women] by Claude Simon
Paris: Maeght Editeur 1965
photo-lithography, woodblock, letterpress
56.0 x 44.8 cm
edition: unknown

United States 1915–1991
El negro [Black] with poems by Raphael Alberti
New York: Tyler Graphics 1983
lithography, letterpress
39.2 x 38.0 cm
R.T.P. from a total edition of 72

Sweden born 1929
United States from 1930
Plates 4 and 6 from Notes by Claes Oldenburg
Los Angeles: Gemini GEL 1968
lithography, letterpress
57.6 x 40.0 cm
R.T.P from a total edition of 125

Germany born 1960
Angelus novus: Uber den Begriff der Geschichte, [Angelus novus: On the concept of history] after a text by Walter Benjamin
New York: Kaldewey Press 1993
woodcut, photo-lithography, letterpress
47.6 x 40.4 cm
one of an unnumbered edition of 60 Gift of Orde Poynton Esq. CMG 1995

Michael PEEL
Singapore born 1940
lives and works in England
The camera never lies by Michael Peel Guildford
Guildford: Circle Press 1979
photography, photo-lithography
30.4 x 22.4 cm
edition: 214/300
Gift of Martin S Ackerman 1989

Great Britain born 1937
A humument: A treated Victorian novel
London: Thames and Hudson 1980
19.0 x 13.6cm
edition: unknown

A humument — large artist’s proof
version of page 51 from the book A humument 1970
65.6 x 42.2; 76.8 x 54.4 cm AR

Nine pages from Ahumument 1975–77
18.3 x 13.0 cm AR

Spain 1881–1973
La Célestine by Fernando de Rojas
Paris: Editions de l’Atelier Crommelynck 1971
etching, aquatint, letterpress
21.0 x 16.6cm
edition: 212/350 from a total edition of 400

Eau-forte 16 mai 1968 II
[Etching 16 May 1968 II]
from La Célestine 1971
etching, aquatint, scraping
8.8 x 12.4; 21.0 x 16.8 cm
edition: 400
1986. 1723

Aquatinte 26 mai 1968 I
[Aquatint 26 May 19681]
from La Célestine 1971
open-bite aquatint, etching
6.0 x 11.8; 21.0 x 17.0 cm
edition: 400

Aquatinte 27 mai 1968
[Aquatint 27 May 1968]
from La Célestine 1971
etching, open-bite aquatint
6.0 x 11.8; 21.0 x 17.0cm
edition: 400

Ean-forte 12 aodt 196811
[Etching 12 August 196811]
from La Célestine 1971
drypoint, scraping
8.6 x 10.6; 21.0 x 17.0 cm
edition: 40u

Jose Maria SICILIA
Spain born 1954
You’re alone by Thomas Lox
Paris: Atelier Michael Woolworth 1992
lithography, thread, wax-embedded paper
23.8 x 20.4 cm
edition: 7/25
Gift of Orde Poynton Esq. CMG 1995

Sweden 1923–1982
The tao of water by James Kirkup
Guildford: Circle Press 1979
embossing, lithography
22.9 x 22.9 cm
edition: 66/200
Gift of Martin S Ackerman 1989

Clarissa SLIGH
United States born 1939
Reading Dick and Jane with me by Clarissa Sligh
Rochester, New York: Visual Studies Workshop 1989 (self-published) photo-lithography
21.2 x 17.6 cm
edition: unknown

Pravoslav SOVAK
Czechoslovakia born 1926
Du fahrst zu oft nach Heidelberg [You go to Heidelberg too often] by Heinrich Boll
Milan: Grafica Uno 1983
photo-gravure, letterpress
33.8 x 30.4 cm
edition: 32/135

Spain born 1923
Anular [Annul) by Jose-Miguel Ullan Paris: Atelier Morsang 1981
etching, aquatint, letterpress
32.4 x 24.0 cm
edition: 120/135
Gift of Orde Poynton Esq. CMG 1995
1995 .480

Great Britain born 1928
Alchera ... Notes for country works (Wiltshire and Tuscany) 1970–74 by Joe Tilson
London: Kelpra Editions 1976
photo-lithography, photo-silkscreen 50.0 x 35.0 cm
edition: 8/10 from an edition of 50, plus 10 artist's proof

Will and testament
by Anthony Burgess
Verona: Plain Wrapper Press 1977
screenprint, letterpress
38.0 x 28.0 cm
edition: 23/86

Walasse TING
China born 1929
United States citizen from 1970
Pages 40–41, 52–53, 72–73, 86–87, 108–109, 118–119, 152–153 and 158–159 from 1 cent/ft by Walasse Ting
Bern: EW Kornfeld 1964
lithography, letterpress
41.0 x 29.1 cm
edition: 1237/2000

France born 1942
Noeud [Knot] by Jean Frémon
Malakoff: Orange Export Ltd 1978
etching, drypoint, letterpress
19.0 x 14.2 cm
edition: 75/75
Gift of the artist, 1980

Great Britain born 1933
De morandi by Kevin Power
Guildford: Circle Press 1979
inkless aquatint, embossing, letterpress
38.0 x 29.0 cm
edition: 158/300
Gift of Martin S Ackerman 1989

Gunther UECKER
Germany born 1930
Vom Licht [Of light]
Heidelberg: Verlag der Galerie Rothe 1973
embossing, letterpress
51.0 x 51.0 cm
edition: 47/60
Gift of Orde Poynton Esq. CMG 1995

Germany born 1930
Der Prozess [The trial) by Franz Kafka
New York: Kaldewey Press 1990
40.2 x 27.6 cm
one of an unnumbered edition of 50
Gift of Orde Poynton Esq. CMG 1995

Germany 1934
Chinese book of the door gods 1995
self-published photo-lithography
85.0 x 66.0 cm
edition: 1/1
Gift of Orde Poynton Esq. CMG 1996

Slinky book
self-published photo-lithography
10.2 x 22.0 cm (open)
edition: 2/10
Gift of Orde Poynton Esq. CMG 1996

Germany born 1929
Hamlet 11:2
by William Shakespeare
Berkley: self-published 1991
linocut, letterpress
21.4 x 38.0 cm
edition: 16/25
Gift of Orde Poynton Esq. CMG 1996

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1 See Sebastian Goeppert, Herma Goeppert-Frank and Patrick Cramer, Pablo Picasso the illustrated books: catalogue raisonné Geneva: Patrick Cramer 1983 p.360.

Further information will be added to this site as the National Gallery proceeds with its research and documentation.

Last updated January 2017