«Serial Project#1, 1966 / Sol LeWitt», in Aspen Magazine, no. 5/6, New York: s.n., 1967 [cover and inside pages]
Drawing Series. Set II 1-24 A, Los Angeles: Ace, 1968 [cover and inside page]
art & project, bulletin 18, Amsterdam: art & project, n.d. [1970?]
Four Basic Colours: Yellow, Black, Red, Blue and Their Combinations, London: Lisson, 1971 [cover and inside pages]
Arcs, from Corners & Sides, Circles, & Grids and All Their Combinations, Bern: Kunsthalle Bern / Paul Bianchini, 1972 [cover and inside page]
Sol LeWitt, Bari: Galleria Marilena Bonomo, 1973 [cover and inside pages]
Sol LeWitt in his studio, n.d.
Sol LeWitt painting, 1971
Sol LeWitt assembling a sculpture, n.d. [1975?]
Sol LeWitt: Serial Project #1 (ABCD), Los Angeles: Dwan Gallery, April 1967. Poster
Sol LeWitt, Munich: Galerie Heiner Friedich, 1968. Poster
Sol LeWitt: Wall Drawings, Portland: Portland Center for the Visual Arts, 1973. Poster
Sol LeWitt/ Wall Drawings, Structures, and Prints, s.l. [Boulder?]: Fine Arts Gallery / University of Colorado Museum, 1976. Poster
LeWitt, New York: Daniels Gallery, 1965. Invitation
Sol Lewitt, Zurich: Galerie Bischofberger, 1968. Invitation
Sol LeWitt, Münster: Galerie December, 1974. Invitation
Color Grids, New York: Parasol Press, 1975. Graphic portfolio, 50.8 x 50.8 cm [selection]
Piramidi, Turin: Marco Editore, 1986. Graphic portfolio, 18.5 x 14 cm [selection]
Sol LeWitt, Turin: Noire Editore, 1996. Graphic portfolio, 16.6 x 22.8 cm [selection]
Drawing dedicated to José Luis Castillejo, 1969. Ink on paper, 30 x 30 cm
Sol LeWitt (Hartford, Connecticut, 1928–New York, 2007) adopted a minimalist vocabulary after his interest in form developed into conceptual art. The writing of LeWitt: ‘Paragraphs on Conceptual Art’ (1967) and ‘Sentences on Conceptual Art’ (1969) proved to be seminal in defining conceptual art.
In the mid-sixties he gradually became aware of the possibilities of books and posters as independent artistic elements, leading him to personally and meticulously oversee various editions of catalogues, posters and books.
Together with the historian Lucy Lippard he founded Printed Matter, Inc., a space dedicated to the dissemination of contemporary art through artist books, magazines and publications based in New York. Since 1966 it has produced 80 artist books that are works of art in themselves, much like engravings or lithographs, but that allow artistic output to reach a wider audience, who are able to own these objects thanks to their affordability. Among them are hand-drawn books printed in colour or containing series of photographs. LeWitt personally designed and oversaw the editing of the cards and posters made for his exhibitions, making these ephemeral means of dissemination into genuine works of art. In the eighties, from a graphic point of view, a staggering increase in the use of colour and a distinct increase in the application of gouache on paper can be seen in the work of LeWitt.
Archivo Lafuente’s LeWitt collection boasts hundred of documents: invitations, posters, photographs, artist books, graphic portfolios and original work by the American artist. Particularly noteworthy examples include, among others, graphic portfolios such as Color Grids (1975), Piramidi (1986) and Sol LeWitt (1996); the artist books Drawing Series. Set II 1-24 A (1968) and Four Basic Colours: Yellow, Black, Red, Blue and their Combinations (1971), and also the original drawing that he dedicated to José Luis Castillejo dating from 1969.