• Original 1968 Hans Bellmer exhibition catalogue, Svensk-Franska Konstgalleriet, Stockholm — cover reproducing a Bellmer line drawing of a female figure tightly bound and folded, contour lines describing compressed flesh and limbs in a crouching posture; HANS BELLMER in spaced serif capitals below; SVENSK-FRANSKA / KONSTGALLERIET in two lines at foot.
  • Inside spread of 1968 Hans Bellmer exhibition catalogue, Svensk-Franska Konstgalleriet, Stockholm — left panel with Swedish biographical text on Hans Bellmer (born Katowice, Poland, 1902), noting his connections to Grosz, Heartfield, Schwitters, Éluard, Tanguy, and La Poupée, and references to Galerie Gmurzynska, Köln; right panel headed Teckningar listing 20 drawings dated 1942–1966 including Hommage à Antonine Artaud (1942), Revel II Juillet (1946), Komposition, Vorzeichnung zu Madame Ewarda, Danseurs, De
  • Reverse of 1968 Hans Bellmer exhibition catalogue, Svensk-Franska Konstgalleriet, Stockholm — back showing plain cream paper stock with centred text: JANUARI–FEBRUARI 1968 / KATALOG NR 345; printer's imprint Ikatryck, Stockholm 1968 at lower right; light age toning and surface marks throughout.
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The New Rare

Hans Bellmer — Svensk-Franska Konstgalleriet, Stockholm, 1968

Hans Bellmer — Svensk-Franska Konstgalleriet, Stockholm, 1968

£150.00 GBP
£150.00 GBP
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Original folded exhibition catalogue / gallery pamphlet
Katalog nr 345
Printed by Ikatryck, Stockholm, 1968
14.8 × 21 cm
Offset print on cream paper stock
Text in Swedish; list of drawings and graphic works, 1942–1966

Condition: good vintage condition; age toning, handling marks, light creasing, softened edges and small surface marks throughout.

Original period exhibition pamphlet for Hans Bellmer at Svensk-Franska Konstgalleriet, Stockholm, January–February 1968. The cover reproduces Bellmer’s linear, bound figure, placing the body between drawing, erotic mechanism, and psychological diagram. Inside, a short Swedish biographical text situates Bellmer through Surrealism, La Poupée, and later recognition in Paris, Germany, and Stockholm.

Bellmer’s work had already moved from Surrealist provocation into a postwar language of the fragmented body. By 1968, his drawings and graphics circulated through galleries as both image and disturbance: anatomies folded into paper, desire, violence, and line.

A folded administrative support carrying Bellmer into Stockholm. Not simply a catalogue, but a retained exhibition document. The image announces; the list records; the fold preserves the transaction between gallery, artist, and viewer.

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