Bernd and Hilla Becher Anonyme Skulpturen : A Typology of Technical Constructions, 1970
Düsseldorf ART-PRESS Verlag, in association with Wittenborn and Co., New York. Bechers' FIRST major book containing 194 black and white photogravure plates and measuring approximately 11” x 9”, the book is bound in navy blue cloth-covered boards with title stamped in white on the cover and spine and is covered with a photographically illustrated dust jacket.
The German husband and wife team of Bernd and Hilla Becher have spent 40 years documenting the relics of the receding industrial age, classifying these near –obsolete structures according to function: lime kilns, cooling towers, blast furnaces winding towers, water towers, gas holders and silos. In this, their groundbreaking first book, the Bechers established the disciplined approach they would follow throughout their career, objective, centered views made with large-format cameras and finely grained black and white film, working under overcast skies early in the morning during spring and fall only to insure a diffuse light with minimal shadows.
Bernd and Hilla Becher | Anonyme Skulpturen : A Typology of Technical Constructions | 1970 | Zucker Art Books
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Bosai Mountains of the Heart, 1816
10 5/8 x 7 1/2 in. (27 x 19 cm)
One volume, Holloway page 104, Mitchell page 383. Bosai lived from 1754 to 1826, at Edo. Mitchell says he established his own school and became very famous. 'Later in life he ceased studying and teaching and spent the rest of his days composing poetry and drinking sake'. Holloway reproduces several illustrations from the Imaginary Mountains: 9 to 12 in the black and white section. It is a book of subtle, calm, quiet, color woodcut with the most delicate and sometimes barely noticeable background tints. Commonly small figures share the landscape or view it, contemplating or fishing or conversing. Printed on fine, rather soft paper; original pale lilac covers with the remains of the original title label.
Bosai | Mountains of the Heart | 1816 | Zucker Art Books
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Louise Bourgeois ODE A LA BIEVRE, 2007
Louise Bourgeois was born in Paris in 1911. In 1919, her family moved to the Parisian suburb of Antony where the Bièvre River "cut across the garden in a straight line". The river was key to their relocation as it was imperative to the family's business of tapestry restoration for the washing of the tapestries. In 2002, Bourgeois would distill her emotions and memories of the river and the garden in an important unique fabric book entitled ODE À LA BIÈVRE. In the book she reminisces through images and text, "With the soil from that river we planted geraniums, masses of peonies, and beds of asparagus ...and honeysuckle that smelled so sweet in the rain." Using her own garments as raw material to make sewn fabric collages, she evoked feelings and memories through lines, shapes and colors. Years later, Bourgeois was to go back to the house with her own family only to find the river to no longer exist, "only the trees that my father had planted along its edge remained as a witness". This 2007 book faithfully reproduces that original fabric work. Each book is signed and numbered on the colophon and includes two signed photographs digitally printed on Verona paper and mounted on 300 gram watercolor paper with the respective titles: "The garden in Antony, 1921" and "The Bièvre River, 1951." Housed in a blind embossed slip case each book is uniquely bound with hand dyed and distressed linen.
Louise Bourgeois | ODE A LA BIEVRE | 2007 | Zucker Art Books
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Mario Carrieri MIlano, Italia, 1959
11 3/8 x 10 1/8 in. (29 x 25.8 cm)
135 black-and-white photographs printed in gravure, design by Giulio Confalonieri, Ilio Negri and Giuseppe Trevisani. . First edition. Carrieri was a leading photojournalist and cinematographer associated with the Italian neorealists. He was influenced by William Klein's 'Life is Good & Good For You in New York' and shared a similarly raw view, though his layout is slightly more restrained. Carrieri spent time photographing in the suburbs as well as in the centre of Milan, focusing his attention mostly on the less glamorous working side of this hard Italian city. 'One of the most important works of the neo-realist tendency of the 1950s' (Parr). In the same year as Milano, Italia, Klein published his own impressions of Italy in Rome: The City and Its People. [Parr, M. and Badger, G., The Photobook: A History Vol.I, p.214].
Mario Carrieri | MIlano, Italia | 1959 | Zucker Art Books
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Giorgio de Chirico Mythologie, 1934
12 1/4 x 9 1/4 in. (31 x 23.5 cm)
Paris: Éditions les 4 chemins
Printed calligraphic title, ten leaves of printed calligraphic text and colophon, text by Jean Cocteau; the text is lithographed from the author’s manuscript. 10 lithographs, nine hand-colored by de Chirico. Loose sheets in cream paper portfolio. This copy has a dedication and includes a drawing by Cocteau, dated 1949, on the title page. This author’s copy (H.C.) lacks signatures on the plates; the one uncolored plate is numbered 116.
Copy no. 114 of 130
Giorgio de Chirico | Mythologie | 1934 | Zucker Art Books
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Jakuchu On a Riverboat Journey: A Handscroll by Jakuchu with poems by Daiten, 1989
6 1/4 x 11 1/4 x 1 1/4 in. (15.9 x 28.6 x 3.2 cm)
Tall 8vo., folding album; 25 pages.
Published by George Braziller, New York.
With a wonderful 18 page introduction explaining The scroll shows a continuous unfolding view of one river bank during a journey from Kyoto to Osaka in the 18th century. The landscape by Jakuchu is combined with poetry by Daiten recording their impressions of the passing scenery and time. Reproduced from the Handscroll at The Metropolitan Museum of Art. Poems and illustrations depict the impressions of an eighteenth century Japanese poet and artist as they traveled to Osaka by boat in 1767.
Jakuchu | On a Riverboat Journey: A Handscroll by Jakuchu with poems by Daiten | 1989 | Zucker Art Books
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Shiba Kokan Gasu Sairtan, 1803
10 5/8 x 6 7/8 in. (27 x 17.5 cm)
see chapter 36 in Hillier. Shiba Kokan was the outstandiing adventurous spirit in the period of discipline and restriction. He lived from 1738 to 1818 and had a fearlessly inquiring mind. As artist he was the pioneer of copper engraving in Japan, and much influenced by European printing. As a cartographer he produced Japan's first engraved map of the world, on two sheets [a copy of this exists at Culham]. As a scientist he was fascinated by Copernicus and explained his discoveries with text and woodcut. As traveler he disobeyed the rules and made long journeys of inquiry and investigation in Japan. On the present work in five volumes it is simplest to quote from David Chibbett, History of Japanese Printing and Illustration: 'His one major book was Seiyu ryodan, a collection of sketches from his travels, which he published, apparently at his own expense in five volumes in 1790. Revised and enlarged editions of this same work were subsequently published under the titles Gazu seiyu ryodan (1803) and Seiyu nikki (6 vols. 1815). All three works were substantially the same with interesting studies not only of Japanese landscapes (where the use of Western perspective is noticeable) but also various activities of the Dutch, with special emphasis on Dutch sea vessels and whale-hunting'. Here is a fine copy of the 1803 publication, the 'western journey' of Shiba Kokan - his long trek through Japan to Nagasaki. It is an account of his travels with many woodcut illustrations. In the third volume his adventures include the sharing of a whaling expedition, shown in some detail in the woodcuts. We see the shape of the harpoons as well as the closing-in of the small boats, the exceedingly dangerous operation, the beached whale, the carving-up of his carcass, the lugging-away and processing in a factory of the chunks of whale for making oil. Volume four is mostly topographical but also shows a few games, dances and the festival procession with carnival floats in the street. In the last volume we reach the author's climax in the recording of Dutch armament, shipping and merchant life at Nagasaki, and a panoramic view of the enclosed Dutch settlement. We see the strange dress of these western visitors, and an often-reproduced double-page woodcut of the merchant's house with his Dutch chairs and his paintings and chandelier; and a Dutch tombstone in the final pages. This was all heady stuff at the time, forbidden, secret and adventurous. Original blue covers and title labels.
92 pages, 16 of text with 124 illustrations, most being photographs and some are reproduced drawings.
Published by The Studio, London.
Aircraft celebrates flight and casts the airplane as the pinnacle of modern technological achievement. The book captures the enthusiasm and ideas surrounding the aerial age. Le Corbusier opens the book by emphasizing the “ecstatic feeling” that flight produces in him. It is “symbol of the New Age”, promising adventure, progress and wild possibility. He idealizes the aesthetics of the machines, too, which possess “clearness of function” (a core principle that underpinned Le Corbusier’s utopian architectural schemes). Le Corbusier’s captions are typically bold and uncompromising. The text that accompanies image 9, for example, reads: “The bird’s eye view … man will make use of it to conceive new aims. Cities will arise out of their ashes.”
Reference: Fotografia Publica 132, p.81; Le Corbusier et le livre, p.122
Square 4to.; unpaginated; illustrated throughout in b+w; tan wrappers printed in black; included with 24 b+w photographs originally used in production of the book. Each photo is 6 x 9 ½ inches, each individually mounted to thick board; housed in custom cloth box. Fine. First edition. Les Levine’s House is a tongue-in-cheek sendup of Minimalist/Conceptualist art practice in which Levine designates a series of photos of a collapsed house as a “working plan for a sculpture or monument.” Anyone choosing to undertake the project is instructed to work “according to the scale of the space he finds available” and to send photos of the finished work to Levine. Published by Hilversum: Steendrukkerij de Jong & Co., 1971.
Small oblong paperback, bound in original white wrappers lettered in black, consisting of a set of 120 beautiful full-color photographs (4 to a page) of sunrises and sunsets by the eminent American artist Sol LeWitt. Slight yellowing to edges of covers. Binding sturdy and tight; interior clean and fresh. Previous bookseller"s price sticker on top right corner of back cover.
Gordon Matta-Clark | Circus | 1978 | Zucker Art Books
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Gordon Matta-Clark Splitting, 1974
Staple bound artist book, 32 pages and one fold out page at end, photos of a house on Long Island, split down the center. "Splitting" is remembered primarily through photographs Matta-Clark took of the finished work and reproduced in a small book. In addition, the excised corners of the building have been saved, serving as positive relics of the work's negative space. These images and souvenirs, as Matta-Clark called them, are the constituents of an exhibition called "Splitting" at the Holly Solomon Gallery.
Gordon Matta-Clark | Splitting | 1974 | Zucker Art Books
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Gordon Matta-Clark Walls paper, 1973
160 horizontally split pages with colored reproductions of wall papers found in demolished houses. Illustrated wrappers. This well known book, "inevitably made artist's books, and this, one of his best known, is a 'documentary' work that is a close adjunct to some of his actual sculptures," according to Parr and Badger.
Second printing of the young artist's first and most influential book, 1 of 400 copies printed in April 1963 by the Cunningham Press, Alhambra, California. 16 pls.  pp. White wrappers with red printing and glassine cover.
48 black and white photographs, title pages and impressum folded into a Leporello (accordion style) and attached to 2 polished aluminium cover plates, contained in a silk-covered slipcase. Design by Takaaki Matsumoto.
Hiroshi Sugimoto | Sea of Buddha | 1997 | Zucker Art Books
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JMW Turner Liber Studiorum, 1810
10 7/8 x 16 1/8 in. (27.6 x 41 cm)
Etchings with mezzotint printed in sepia, circa 1809-1817. This book is exlibris of F. Hurlbutt. Etched by the artist, engraved by C. Turner(Brother), W. Say, R. Dunkarton, G. Clint, T. Lupton and the artist, frontispiece and 70 pages, fine impressions, the majority early states (1 proof, 2 first states, 7 second states, 42 third states, 13 fourth states, 4 fifth states, and 2 sixth states), on laid paper with T. Richard watermarks, with margins,, bound in contemporary calf, richly gilt, for a Duke or person of importance.
JMW Turner | Liber Studiorum | 1810 | Zucker Art Books
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Yun - Fei - Ji The Three Gorges Dam, 2009
14 x 120 in. (304.8 cm)
Artist Book. A hand scroll, the traditional "book" form of old China. This ten-foot-long horizontal image, hand-printed in China from over 500 hand-carved woodblocks, depicts the flooding and social upheaval caused by the construction of the Three Gorges Dam, on the Yangtze River in the central part of the country.