EAB FAIR 2014

Tauba Auerbach
Spray Through(Tubes), 2011
4333-BK

16 x 13 3/4 in. (40.6 x 34.9 cm)

Drawing inspiration from principles of mathematics and physics, Auerbach’s work straddles conceptual art, abstraction, and design. With an evocation of graphic art, this book demonstrates systems of logic pictorially. Each sheet has an array of cutouts used as spray paint stencils to create a pattern of circles and tubular pill shapes. Spray paint on plotter cut Bristol paper with cloth binding. Card inserted in the book serves as the colophon.
Edition of 10 copies.

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Alighiero Boetti
111, 1994
3715-BK

Signature red cloth cover with photocopies of newspapers and some of his earlier pieces . Edition of 160 copies signed and numbered. 30.5x21.5cm

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Alighiero Boetti
ALIGHIERO BOETTI (Turin) "BESPRECHUNGSVORTRAG". MANGIONE SALVO (Turin). Aktionsraum 1, Munich, Germany. April 11, 1970., 1970
3694-PR

Exhibition poster. Black silkscreen printed on white paper. Text in German. Very good condition. 34 x 24". Reference: pp. 116 - 117 AKTIONSRAUM 1 ODER 57 BLINDENHUNDE. A 1 Informationen Verlagsgesellschaft mbH, Munich, Germany. August 1971. Arte Povera. Aktionsraum 1 was a space for transgressive thought and activity in a politically hot climate, serving as an art-making stage and arena for social critique. Fittingly what remains are not the actions nor commodifiable objects, but the announcements pasted on city walls and streets; the throwaway gesture. Boetti's image in the poster: it's titled "gemelli" and the original work is a photographic postcard (10x15) that was sent out to friends by Boetti. In this image Boetti divided his person in "Alighiero" and "Boetti", two different faces of the unique person.

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Louise Bourgeois
ODE A LA BIEVRE, 2007
1669

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.

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Olafur Eliasson
Pedestrian Vibes, 2005
1813

Suite of 16 photogravure prints on Somerset White Satin paper

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Robert Filliou
Je Meurs Trop, 1977
3774-OR

9 1/8 x 4 3/8 x 1 1/8 in. (23.3 x 11 x 3 cm)

A brown brick with a white label attached and a grey/green label with white print wrapped around the brick. The numbers 22,11,30 are etched in the brick. Signed and numbered by the artistin an edition of 50. Text is in French by Antonin Artaud. Fireproof brick.

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Adam Fuss
From the Series My Ghost (Smoke) AF# 2052, 1999
1418

Gelatin Silver Print Photogram, unique. 34 x 32.7 cm

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Adam Fuss
From the Series My Ghost (Smoke). AF#957
1417

Gelatin Silver Print Photogram, unique 19,7 x 19,7 cm/7 3/4 x 7 3/4 inches

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Luigi Ghirri
Cactus, 1973
4433-PH

7 1/2 x 11 1/4 in. (19 x 28.5 cm)

C-Print, signed and dated on verso and on card . Published in the Thomas Demand book, La carte d'apres nature. Page 60.

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Wolfgang Laib
Untitled Beeswax slab, 1990
4485-BK

10 3/8 x 12 3/4 in. (26.4 x 32.4 cm)

Basel, Galerie Buchmann

Solid Beeswax slab. Issued in original cardboard box, lid printed with photograph of one of many of Laib's beeswax slabs. Artist’s multiple, published in an edition of 40 copies, signed, numbered and dated in pencil by Wolfgang Laib on the bottom of cardboard box.

Laib began working in beeswax in 1988 and has used removable wax plates to create wax rooms for exhibitions at the Museum of Modern Art, New York.

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Le Corbusier
Unité, 1965
4291-BK

Contains 20 aquatint etchings on Rives wove paper produced between 1963 and 1965.

Printed by Crommelynck, Paris, and published by Alain C. Mazo, Paris.

The "Unité" etchings celebrate organic arrangements in compositions that simply and masterfully blend color, line, and form. One of the artist’s central graphic works, the aquatints showcase his belief that “color is an immediate and spontaneous expression of life.” These images incorporate his notions regarding still life stemming from the Purism movement, as well as depictions of women.

15 signed color plates: nos. 1, 3-11, 14-16, and 18-20. One unsigned color plate no. 2, and four B/W plates, unsigned.

Edition of 130.

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Piero Manzoni
Piero Manzoni: Life and Work, 1969
904

7 1/8 x 6 1/8 in. (18 x 15.5 cm)

Softcover, mylar, bound by plastic clip. Except for the title page, the book is blank. Signed by Jes Petersen who originally published it in 1963. Reference: p. 265, "Piero Manzoni", published by Priero Editore, Milan, 1989; 20 Jes Petersen Germany artist’s book. Edition of 100 copies.

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Piero Manzoni
Nul Negentienhonderd deel 1 = 2, 1965
4158-BK

[publisher: Stedelijk Museum Amsterdam 1965] Exhibition catalogue in two volumes. Texts in dutch, french and italian, 4to, wrappers, n.p., illus., very good copies. Rare. [Den Haag, ., Netherlands]

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Piero Manzoni
Tentoonstelling nul : Stedelijk Museum Amsterdam : 9-25 Maart 1962., 1962
4147-BK

exhibition catalogue

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Henri Matisse
Cahiers d'Art, nos. 3-5, edition deluxe, 1936
4495-PR

15 1/2 x 22 1/4 in. (39.4 x 56.5 cm)

This special issue, in excellent condition, contains 3 parts:
1.) Thirty-eight illustrations by Matisse, mostly of female subjects, 36 of them tipped in on special paper; a text by Christian Zervos,“Automatisme et espace illusoire”; and a poem by Tristan Tzara “À Henri Matisse.” Printed on Montval paper.
2.) Pochoir cover after an early paper cut-out, Matisse’s first use of paper cut-outs for cover illustration. The cover was folded and wrapped around the book; however this example has an uncut, unfolded color cover with a wide margin on Arches Aquarelle paper, 56.5 x 40 cm.
3.) An aquatint, loosely inserted, L’Homme endormi, 1936; image: 24.8 x 17.5 cm, edition of 150; signed in pencil, numbered 33/150. Duthuit. Cat. Rais. Oeuvr. Illustr., n. 64, Duthuit. Oeuvre Gr., n. 771

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Henri Matisse
L'Homme endormi, 1936
254

9 3/4 x 6 7/8 in. (24.8 x 17.5 cm)

Aquatint, full margins signed and numbered in pencil, lower right #33 of 150. Duthuit Matisse. Catalog Raisonne de l'Oeuvre Grave. pg. 304 pl 215 . #771 L'Homme endormi pl 215 1936

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Henri Matisse
Deluxe portfolio of six signed etchings for Ulysses, 1935
4282-BK

17 3/8 x 13 3/4 in. (44 x 35 cm)

New York Print Club. Number 149 of 150.

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Henri Matisse
Ulysses, 1935
1644

With etchings by Matisse.

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Henri Matisse
Verve issue #13
1608

Wrappers, frontispiece (La Chute d’Icare) and title page illustrated by Matisse. Full-color and black and white illustrations by Matisse throughout. Green illustrated dust jacket after Matisse collage over still boards, split at spine. Frontispiece and title page lithographs uncommonly fine, with no offsetting. w/ 2 color pochoir prints

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Barry McGee
Drypoint on Acid, 2006
1075

7 3/4 x 6 1/4 in. (20 x 16 cm)

Portfolio of 10 prints in a variety of printmaking techniques and collaged silkscreen additions; in a wood box with silkscreen on lid.
Published by Edition Jacob Samuel, Santa Monica, CA.
These images employ collage elements from the artist’s vast collection of old industrial printed paper, which he embellishes with his own images depicting those who live on the margins of society.

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Otto Piene
Ohne Titel, 1960/61
4121-PH

13 3/4 x 13 3/4 in. (35 x 35 cm)

Unique silver gelatin print made from a diazotype negative.

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Otto Piene
Ohne Titel, 1959/60
4120-PH

15 3/4 x 11 3/4 in. (40 x 30 cm)

Unique diazotype

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Lukas Pusch
Zil 130 Deluxe, 2008
4463-BK

6 x 9 x 4 1/8 in. (15.2 x 23 x 10.5 cm)

The book tells the story of the artists Siberian journey with a soviet truck, ZIL 130, and his White Cube Gallery Novosibirsk that was tranported on the rear of the truck where he opened a gallery in many towns he visited. The photographs document the series of break downs that occured along the way. edition of 100 plus 10 Deluxe copies with original tipped in photographs.

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Mike & Doug Starn
Ani-San, samukaro? Omae samukaro?, 2007/2008
2174

40 pages with 19 B&W Illustrations, each wrapped in a unique vintage kimono fabric each having one photograph from the book on gampi paper with encaustic, signed and numbered housed in a bass wood box. A hand crafted bass wood Japanese box houses a unique signed photograph; inkjet on gampi paper, hand coated with encaustic, under which the book is found wrapped in an indigo vintage kimono fabric. The package is tied with red and white cords, each one with a small paper flag inscribed with a question from the title. The story reveals the significance of the book wrapped in a threadbare kimono under the snow. Each book is hand-made, thread bound using traditional Japanese techniques, with 19 photo- micrographs of snow crystals that were shot by the artists during snowstorms between 2004 and 2006. The images are printed on gampi paper, the back of each image is hand-painted with white acrylic and then finally the image is brushed with a single stroke of varnish. A signed colophon is inside the box.

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Hiroshi Sugimoto
In Praise of Shadows, 2000
2256

**Framed set of this portfolio of 7 lithographs/ 3 Plates / 4 colors. For each photograph, a candle was placed in a dark, draughty room, and a single exposure was taken over several hours as the wick burned from top to base, reducing the candle to nothing. The title is taken from Junichiro Tanikazi's 1933 essay on Japanese aesthetics, "In Praise of Shadows". This essay has become something of a manifesto for generations of Japanese artists. Tanizaki says that the Japanese "find beauty not in the thing itself but in the patterns of shadows, the light and the darkness, that one thing against another creates."

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Hiroshi Sugimoto
Sea of Buddha, 1997
1720

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.

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Philip Taaffe
untitled, 2011
4532-PR

27 x 19 3/4 in. (68.6 x 50.2 cm)

Monotype

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Philip Taaffe
untitled, 2011
4533-PR

21 x 17 1/2 in. (53.3 x 44.5 cm)

Monotype

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Philip Taaffe
untitled, 2011
4534-PR

23 x 18 in. (58.4 x 45.7 cm)

Monotype vase

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Philip Taaffe
untitled, 2011
4535-PR

26 1/2 x 19 3/4 in. (67.3 x 50.2 cm)

Monotype

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