Unoriginal Sins

Unoriginal Sins AVANT-GARDE BOOKS, EPHEMERA, PRINTS, MULTIPLES & UNIQUE WORKS

Ian Hamilton FinlaySTONECHATS1967
04/06/2026

Ian Hamilton Finlay
STONECHATS
1967

A PRETTY KETTLE OF FISH. 1974. ONE OF 350 SIGNED & NUMBERED EXAMPLES.Dunsyre: Wild Hawthorn Press, 197411.7 x 12cm, 24pp...
02/06/2026

A PRETTY KETTLE OF FISH. 1974. ONE OF 350 SIGNED & NUMBERED EXAMPLES.

Dunsyre: Wild Hawthorn Press, 1974

11.7 x 12cm, 24pp (double folded and printed recto only) plus card covers and printed dustjacket. Artist’s book with eight concrete and visual poems such as

ELEGY FOR A

wheelbarr w

o

VG+

This is one of 350 signed and numbered copies on colophon.

VERBAL & VISUAL. 1972. ONE OF 100 BOOKS.Oldenberg: LAC, 197220 x 14cm, 32pp plus wrappers. Artist’s book with facsimile ...
02/06/2026

VERBAL & VISUAL. 1972. ONE OF 100 BOOKS.

Oldenberg: LAC, 1972
20 x 14cm, 32pp plus wrappers. Artist’s book with facsimile reproductions of works by Tot. This is an unnumbered copy from the limited edition of 100 copies. VG+.

MUSICA MADRE. 1973.Milano: Giampaolo Prearo Editore, 197323.5 x 16.5 cm. 158pp of which 58pp are faux newsprint typescri...
01/06/2026

MUSICA MADRE. 1973.

Milano: Giampaolo Prearo Editore, 1973
23.5 x 16.5 cm. 158pp of which 58pp are faux newsprint typescript visual poems along with musical scores and photos of Chiari at a piano. Some minor browning at spine else VG+. Scarce.

BUCHER DAZU EINIGE BILDER. 1973. ONE OF ONLY 150 NUMBERED COPIESGermany: Galerie Steinmetz Germany 197322.5 x 16cm, 80pp...
28/05/2026

BUCHER DAZU EINIGE BILDER. 1973. ONE OF ONLY 150 NUMBERED COPIES

Germany: Galerie Steinmetz Germany 1973
22.5 x 16cm, 80pp plus b/pink wrappers with an original lithograph by Roth. (“Ship & Smoke” from 1968) printed black on pink on the wrap around dj. Contributions by Dorothy Iannone, Jonas Hafner etc. One of only 150 hand-numbered copies. Very good+.

DE TAFELRONDE XVII – 2/3. 1972. WITH UNQIE SMALL COLLAGE BY DE ROOK.Amsterdam: De Tafelronde, n.d. (1972)21.6 x 16.6cm, ...
28/05/2026

DE TAFELRONDE XVII – 2/3. 1972. WITH UNQIE SMALL COLLAGE BY DE ROOK.

Amsterdam: De Tafelronde, n.d. (1972)
21.6 x 16.6cm, 64pp plus printed card covers. A single number of this concrete and visual poetry journal edited by Henri Chopin, Paul de Vrees, Freddy de Vrees and Henri-F. Jespers. This number has contributions from Jean-François Bory, Paul de vree, Eugenio Miccini, Tim Ulrichs, Davi Det Hompson, and a unique small collage by G J de Rook (a tram ticket). Some browning around the front cover wraps and a faint vertical crease on front but internally VG+.

MIXING THE CONCRETESWe have 10% off all visual and concrete poetry this week … plus an additional 10% discount for signi...
28/05/2026

MIXING THE CONCRETES

We have 10% off all visual and concrete poetry this week … plus an additional 10% discount for signing up to our monthly newsletter via our fancy new link on the website menu!

Herman Damen mixing the concrete and considering the difference between visual poetry and concrete :

Studio Brescia catalog for Mostra numero 5. December 1972.

Sarenco:Eugenio Micciniis the greatestvisual poet in theworld:he is a maestro,tells jokes,is a frequent co-defendant of ...
27/05/2026

Sarenco:
Eugenio Miccini
is the greatest
visual poet in the
world:
he is a maestro,
tells jokes,
is a frequent co-defendant of mine,
knows many women.

A rough translation of the text:
This “civilisation” (let it be said with full malice) has produced sufficient instruments for its own total and final contradiction. Indeed, in place of the end which such instruments were meant to serve, they have installed themselves. And here we are, in this “card-index”, returning to these technological fetishes their lost humanity, extracting them from their cold, logical, cynical universe (and therefore from their ritual) and — once nudged just outside their “jargon” value — rendering them ineffable.
We wanted to explore this kingdom, populated by witnesses and spies, in order to perform there a minimal gesture that would send back to the “insiders” what these things were signalling — accompanied by an act of judgement, even if pronounced through the means of evidence, of irony; which is the fundamental act of our “practical” reason as human beings and, especially, as artists.

Catalogue for an exhibition of Miccini’s works at Studio Brescia in 1973.

Catalogue for the Arte Sistematica exhibition hosted by Studio Brescia in 1973 showcasing geometric and systematic works...
27/05/2026

Catalogue for the Arte Sistematica exhibition hosted by Studio Brescia in 1973 showcasing geometric and systematic works by Dutch artists Ad Dekkers, herman de vries, and Ewerdt Hilgemann. An essay by Rossana Apicella introduces a taxonomy of “praxiglossia, monoglossia, singlossia” and argues the place of constructivism and visual poetry within the same political and aesthetic realm. Roughly,
Praxiglossia: art as civic action
Monoglossia: construciltivism, a square as a square
Singlossia: where the visual and verbal meet

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