300 - Gerhard Altenbourg. Wound-Monuments. Floating Refreshment and Shivers. Hanover, Galerie Brusberg 1982[-1986]. With 28 color woodcuts, ten of which are full-sheet size, all signed and/or monogrammed by the artist and bearing his embossed stamp, as well as 16 signed or monogrammed woodcut vignettes. In original half-parchment slipcase with woodcuts on the cover linings.

Gerhard Altenbourg. Wound-Monuments. Floating Refreshment and Shivers. Hanover, Galerie Brusberg 1982[-1986]. With 28 color woodcuts, ten of which are full-sheet size, all signed and/or monogrammed by the artist and bearing his embossed stamp, as well as 16 signed or monogrammed woodcut vignettes. In original half-parchment slipcase with woodcuts on the cover linings. Call time: approx. 3:50 p.m. (schedule subject to change) First printing by the Dürer Press. — One of 50 Roman-numbered copies; an additional 50 copies, with slightly different content, were published by Philipp Reclam, Leipzig. — All prints are signed, as is the copy note, which features a small drawing. - In addition, each copy contains a unique original artwork; in this case, “O Day of Luminous Glow, When Glimpses Reveal Things” (pencil and watercolor), signed, monogrammed, and dated “1980.” - Set in Orpheus-Antiqua type, printed at the Leipzig Academy of Visual Arts and Book Arts; the woodcuts are hand-printed by the artist. - On vellum. - With an afterword by Hans Marquardt, director of Reclam Publishing and founder of the Dürer-Presse. Originally conceived as the first print from this Leipzig press, its publication was delayed for years due to cultural-political circumstances in the GDR and Altenbourg’s repeated dissatisfaction with the printing results. The Leipzig copies were not even delivered until 1986. - “The fine typeface [...] and the delicate lines of the drawings, as well as the generous layout, all contribute to the special status of the book *Wund-Denkmale* [...].” (Papiergesänge). - A beautiful copy. “In Gerhard Altenbourg, the visual arts developing in the GDR had one of their most eloquent representatives, a nonconformist of the most intelligent kind. Although ignored for decades by official cultural policy and discriminated against and harassed by incompetent and presumptuous officials, his community of admirers and collectors grew to be unparalleled. Altenbourg was a connoisseur of literature and a bibliophile of the highest order, as well as a master of the word who put something extraordinary to paper in poetry, prose, and essays.” (Lothar Lang in “Von Hegenbarth zu Altenbourg,” Stuttgart 2000, p. 229). Janda 82/93 XXXVIII. - Spindler 67.2. - Papiergesänge 141 28.5 : 31.5 cm. 127, [5] pages. English description: Includes 28 color woodcuts—ten of which are full-sheet size—all signed and/or monogrammed by the artist and bearing his embossed stamp, as well as 16 signed or monogrammed woodcut vignettes. Presented in an original half-parchment case with woodcuts on the lid covers. First printed by the Dürer Press. - One of 50 copies numbered with Roman numerals; an additional 50 copies, with slightly different content, were published by Philipp Reclam, Leipzig. - All prints are signed, as is the copy note, which features a small drawing. - In addition, each copy contains a unique original work; here, “O Tag des lichten Schimmers, da Ein-Blicke die Dinge gewähren” (“O Day of Luminous Glimmer, for Glimpses Grant Us Insight”) (pencil and watercolor), signed, monogrammed, and dated “1980”. - Set in the Orpheus-Antiqua typeface, printed at the Leipzig Academy of Visual Arts, with the woodcuts hand-printed by the artist. - On vellum. - With an afterword by Hans Marquardt, director of Reclam Publishing and founder of the Dürer-Presse. Originally conceived as the first publication of this Leipzig press, its release was delayed for years due to cultural and political circumstances in the GDR and Altenbourg’s repeated dissatisfaction with the printing results. The Leipzig copies were not even delivered until 1986. - “The fine typeface [...] and the delicate lines of the drawings, as well as the generous layout, contribute to the special status of the book *Wund-Denkmale* [...].” (“The fine typeface [...] and the delicate lines of the drawings, as well as the generous layout, contribute to the special status of the book *Wund-Denkmale* [...].”) (Papiergesänge). - A beautiful copy. “In Gerhard Altenbourg, the visual arts emerging in the GDR found one of their most eloquent representatives, a nonconformist of the most intelligent kind. Although ignored for decades by official cultural policy and discriminated against and harassed by incompetent and presumptuous officials, his community of admirers and collectors grew to be unparalleled. Altenbourg was a connoisseur of literature and a bibliophile of the highest order, as well as a master of the written word who produced extraordinary works in poetry, prose, and essays.” (Lothar Lang in “Von Hegenbarth zu Altenbourg,” Stuttgart 2000, p. 229).