John Baldessari The Telephone Book (With Pearls), 1988
8 1/4 x 5 3/4 in. (21 x 14.8 cm)
The book features a series of cropped movie stills depicting either a telephone or pearls. Signed and dated by the artist in pen. 62 pages, unpaginated, including 43 black and white illustrations, some with color spots. Gent, Belgium: Imschoot, Uitgevers for IC, 1988. First Edition. 8vo, wraps
John Baldessari | The Telephone Book (With Pearls) | 1988 | Zucker Art Books
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John Baldessari Ingres and Other Parables, 1972
12 1/8 x 10 5/8 in. (30.8 x 27.1 cm)
10 black-and-white photographs. Cream saddle-sewn textured paper wrappers, text in black; tiny mark to cover. Circular punched hole at fore-edge as issued.
First edition of Baldessari’s first artists’ book, the format resembling a wall hanging calendar. In More Than You Wanted To Know ... Vol. 1 (2013) he explains: ‘This piece had its genesis from a notebook entry where I had written, “Tell stories like Jesus.” They were to be moral tales for young artists just out of school and ready to enter the art community. Pitfalls to avoid; tales for the art unwary.’
The ten parables, each of which is illustrated with a black-and-white photograph, are titled: ‘Ingres’, ‘The Contract’, ‘The Wait’, ‘The Neon Story’, ‘The Best Way To Do Art’, ‘Art History’, ‘The Great Artist’, ‘Two Artists’, ‘and The Visitor’.
Andre Breton | Second Manifeste du Surrealisme | 1930 | Zucker Art Books
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Marcel Broodthaers La Conqu√™te de l'espace, Atlas √† l‚Äôusage des artistes et des militaires, (The conquest of space, atlas for the use of artists and the military), 1975
1 7/16 x 15/16 in. (3.8 x 2.5 cm)
38 pages in slipcase, offset lithograph, containing silhouettes of a selection of 32 countries of the world shrunk to the same scale as Belgium, with no difference in size, arranged alphabetically. Published by Edition Lebeer Hossmann, Brussels and Hamburg. A tiny and most rare important final artist's book by Broodthaers that plays on language, scale, and function‚Äîit is transportable, but useless. This book was published shortly before the artist's unexpected death in 1976 thus all copies remain unsigned and are stamped ‚ÄúEstate M Broodthaers‚Äù and numbered by the publisher. Number 17 of 50 copies.
Marcel Broodthaers | La Conqu√™te de l'espace, Atlas √† l‚Äôusage des artistes et des militaires, (The conquest of space, atlas for the use of artists and the military) | 1975 | Zucker Art Books
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James Lee Byars The One Page Book, 1972
12 x 8 7/16 in. (30.5 x 21.5 cm)
Cloth-covered board box containing one loose page as issued, with offset lithograph with one line of text, in miniscule font: "the philosophy of the one question". Sticker with title and press on cover; numbered on recto.
James Lee Byars | The One Page Book | 1972 | 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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Joesph Cornell Maria, 1954
[Queens, NY]: Salamander Editions [Joseph Cornell], (1954). First Edition. Small 8vo. Original printed stapled wraps. MARIA (1954) was privately printed by Cornell in an edition of about 100 copies and given away to his friends as presents. The work was inspired by nineteenth-century opera singer Maria Malibran-Garcia and was produced with the same precision and care Cornell brought to his other work. It is in many ways a Cornell work in book form with the appropriation of text, the use of a decorative headpiece from yet another book, and dealing with one of Cornell's signature obsessions.
Mark Dion Fragments of travel, exploration and adventure, 2007
10 1/4 x 12 5/8 in. (26 x 32.1 cm)
Paris: Christophe Daviet-Thery and XN editions
In his first book project Dion assumes the guise of an 18th or 19th century scientist who explores an unknown land (he kindly includes a buffalo leather pop-up map of this terra incognita) and exhaustively documents the native flora and fauna. The book is exquisitely constructed to convincingly carry out this fiction: pieces of paper are die cut and assembled and bound into the book to suggest an impromptu but thorough record of the explorer’s discoveries and observations. Contains twenty-seven bound-in lithographs, offset printed; six bound-in digital prints; five loose lithographs, offset printed; and two loose digital prints. Edition of 36 with 9 A.P.; deluxe editions 1-6 each include a unique drawing in colored pencil. Quarter bound in buffalo leather with Zerkall Nideggen paper and Zerkall German Ingres. Slipcase.
Reinhard Dohl | Bedepequ | 1967 | Zucker Art Books
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Rachel Feinstein Call Us Not Weeds But The Flowers Of The Sea, 2015
4 5/16 x 5 7/8 in. (11 x 15 cm)
Feinstein altered a 19th century Victorian album containing mounted specimens of seaweed by adding fragments of erotic black and white photographs. She manipulates the given objects and photographs as collages that provoke voyeuristic associations. A poem on one page, nine pages of images. Unique.
Fischli, Peter and Weiss, David | Bericht uber den kunstlerischen Schmuck im Neubau der Borse Zurich | 1995 | Zucker Art Books
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Andreas Gursky Montparnasse, 1995
19 1/2 x 11 in. (49.5 x 28 cm)
Two square quarto vols., and oblong folio photo-reproduction. Original silver coated wrappers, printed in black, original silver coated portfolio, printed in black, all laid into the original silver papered box. A fine copy, with the print in fine condition. First edition, offset lithograph in color, on wove paper, with text book and book of reproduction of blown up images. Andreas Gursky is a German photographer best known for his vast color architectural landscapes. His point of view is often so far from the object that it is difficult to tell what it is. In this photograph, hundreds of windows simply become tiny squares and lose their meaning as architecture.
Andreas Gursky | Montparnasse | 1995 | Zucker Art Books
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Andreas Gursky Andreas Gursky, 1989
Krefeld, Germany: Museum Haus Lange, 1989. First Edition. Small oblong quarto. SIGNED by Andreas Gursky on the title page. A catalogue for Gursky's first exhibition, held at Museum Haus Lange in Krefeld, Germany, November 5 – December 12, 1989. With an invitation and a press release for the show laid in. Gursky's first and rarest book, featuring 18 color images shot between 1984 and 1989, prior to digital alteration. Although not widely known (most likely due to the restrained edition size), this catalogue marks the high point of Dusseldorf School color photography. Fine in plain stapled wrappers in a close to fine card jacket with French flaps, very lightly soiled along the spine edge and rear panel.
Ludwig Harig | Ein stereophones horspiel | 1967 | Zucker Art Books
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Stephan Koehler Mexico, 2000
Each of the two volumes begins with excerpts from letters by Catalino, written from 1987-1994. Volume one tells of the hardships of farm life and the devastating effects of a hurricane. The images show daily life on the fields and in the small town of Tekit. This is prototype copy with a special box. Volume two concerns the days fiesta, the waiting for it in the letters and the mixture of culture identification photographs of processions, dance and bullfight. The semi-transparent photographs of Stephan Kohler are printed in darkroom using silver-gelatine japanese paper made by the photographer in his Paper Bridge Mill in Gifu.
Stephan Koehler | Mexico | 2000 | Zucker Art Books
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Ugo la Pietra AD OGNUNO LA PROPRIA REALTA"To each his own Reality", 1972-74
16 x 12 in. (40.5 x 30.5 cm)
A conceptual artists book with original photographs throughout, published by Jalik & Colophon in an edition of only 30 copies which were never completed, this is copy #1/30 and comes directly from the Artist. 40,5 x 30,5 cm. In the Sixties Ugo La Pietra was one of the first artists to use photography as a medium for artistic operations. His images, often composed and integrated by written and manual intervention, are the result of a careful exploration of the contradictions of life and living. These images, starting from the urban environment degraded and alienating, change the perspective, the perception and our way of life, to make out beauty, possibility of intervention and change, happiness.
Ugo la Pietra | AD OGNUNO LA PROPRIA REALTA"To each his own Reality" | 1972-74 | Zucker Art Books
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Le Corbusier Aircraft, 1935
9 7/8 x 7 5/8 in. (25.2 x 19.4 cm)
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
Artist book predating his famous Autobiography book. Here he photographs the printing studio of CrownPoint Press where he does many of his printed work. Bound book of photo etchings 40 pages, signed in a limited edition of only 25 copies.This book is a record of the way Crown Point Press looked at the time the artist was in residence here. On one of the pages, for example , are photographs of several works by Sol LeWitt which were pinned up as proofs on the studio walls. On the facing page are prints made by other artists who have worked at Crown Point Press . In making this book, Sol LeWitt instructed the printers what the subject matter and general composition of the images should be. He then arranged the images into pages . "CrownPoint" was created completely at Crown Point Press . This work includes the photography, the making of 300 line screened phototransparencies , etching the images onto the plates, hand printing and binding the pages into book form.
Roy Lichtenstein La Nouvelle Chute de L' Amerique, 1992
14 3/4 x 13 3/4 in. (37.5 x 35.2 cm)
Ginsberg, Allen.Paris. Editions de la Solstice.
Folio. Eleven poems by Allen Ginsberg in English and French illustrated with ten full page colour etchings by Lichtenstein, each initialled by the artist in pencil. Loose as issued in original publisher's wrappers, in original chemise and slipcase. From the edition limited of 80 copies, signed by the poet and artist. Edition of 80 copies.
Motion, in the face of this fixity, becomes more imperative,” Helen Vendler wrote in the New York Times, in 1973, when Allen Ginsberg’s The Fall of America poems were released. She was describing on Ginsberg’s elegiac new work, reflective of the end of an era in which spontaneity had come to constitute an aesthetic in itself.
Ginsberg published The Fall of America as part memoir, part travelogue, reminiscing about dead friends and lovers, and prosecuting American participation in the Vietnam War. For La nouvelle chute de l’Amérique, Ginsberg selected eleven poems from his collection to be illustrated by Roy Lichtenstein, with ten original etchings, each one being signed by the artist. The result is a folio object containing a rare coalescence of two distinct sensibilities.
“More and more places,” Vendler wrote, “... An addictive sociability coexists now in
Ginsberg with a pall of solitude; willed prophecy inhabits a religious void; and of empty necessity topographical descriptions supersedes familial drama.”
Lichtenstein, an American master of caricature, added a visual representation, giving an image to the disruption for the American political landscape, thereafter. As Ginsberg said, “poetry is not an expression of the party line. It’s that time of night, lying in bed, thinking what you really think, making the private world public, that’s what the poet does.”
The book was published in Paris by Les Éditions du Solstices (a members-only club for bibliophiles) in 1992, in a small edition of only eighty copies. There was also an edition of only the plates printed on Japanese paper in an edition of forty-five: text in both English and French, the poems translated in part by Anne- Christine Taylor, an ethnologist and retired head of research at the Musée du quai Branly. Issued in the publisher’s wrappers, the folio is conserved in the original blue cloth chemise and red slipcase with a white letterpress title.
This edition was printed for Robert S. Pirie (1934–2015), a bibliophile who was proud of his spot on President Richard Nixon’s “enemies list.” Pirie was one of the few Americans admitted into the prestigious Roxburghe Club, the world’s first bibliophile club, founded in London in 1812.
In this volume—half modern artist book, half protest poetry—might have seemed out of place in Pirie’s largely sixteenth and seventeenth century collection, except for its status as the particular treasure of a collector who recognized the significance of a partisan split in American politics, with art being one way to transform the ridiculous into the sublime.
Roy Lichtenstein | La Nouvelle Chute de L' Amerique | 1992 | Zucker Art Books
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Piero Manzoni Piero Manzoni: Life and Work, 1969
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.
Text de Moriyama Daido. This publication, the only one Moriyama produced with the editors of Camp, provided members of the Camp collective with an opportunity to pay homage to their mentor and inspiration: Daido Moriyama.
Provoke 2 - Published by Provoke-sha, Tokyo on March 10, 1969 with a limitation of 1000 copies. Containing halftone reproductions of photographs by Moriyama, Nakahira, Takanashi and Taki with text by Okada. The book is bound in grey printed wrappers. The yellow bellyband is not present.
Robert Motherwell | L'amour Venetien | 1984 | Zucker Art Books
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Bruno Munari Libro Illeggible N.Y.1, 1967
8 5/8 x 8 7/8 in. (22 x 22.5 cm)
This is a unique book designed by Bruno Munari especially for The Museum of Modern Art. It is one of a group of books in which visual discourse, rather than a text composed of words, carries the thread of the story... -- from publisher's statement. Text in Italian and English. This is the absolute first copy in the edition, #1 of 644.
Bruno Munari | Libro Illeggible N.Y.1 | 1967 | Zucker Art Books
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Bruno Munari De Kwadraat-Bladen - The Quadrat-Prints - Le feuilles-Cadrat - Die Quadrat-Blatter. An unreadable quadrat-print by Bruno Munari., 1953
Hilversum. Jong & Co. 1953. 4to. Unpaginated. Wrappers. Complete with printed envelope. Designed by Munari, and published by De Jong as one of their Quadrat-Print limited edition series, this artists' book has pages made of four different types of paper, which are then cut into various designs. Produced in irregular intervals beginning in 1953, Kwadraat Blad or Quadrat Print was a series of printing experiments executed by Steendrukkerij De Jong & Co. in Hilversum, Netherlands. Contributers included Buckminister Fuller, Willem Sandberg, Wim Crouwel, Marc Chagall, Bruno Munari, Dieter Roth and countless others. This issue, which Munari himself called The Unreadable Book, features red and white paper geometrically cut up. The only text in the book is a statement by the publisher. The meaning in the book is made up by the interplay of the shapes, colours, and formats.
Bruno Munari | De Kwadraat-Bladen - The Quadrat-Prints - Le feuilles-Cadrat - Die Quadrat-Blatter. An unreadable quadrat-print by Bruno Munari. | 1953 | Zucker Art Books
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Giuseppe Penone Svolegere la propria pelle (Developing One's Own Skin), 1970/71
8 3/8 x 8 1/2 in. (21.3 x 21.7 cm)
104 pages, Sperone Editore, Turin, 1971. Penone mapped his entire body with hundreds of photos taken when pressing a sheet of glass against different parts of his body, assembling assembling the resulting images into grids. In these photographs the subject is seen “unrolling one's skin against air, water, earth, rock, walls, trees, dogs, handrails, windows, roads, hair, hats, handles, wings, doors, seats, stairs, clothes, books, eyes, sheep, mushrooms, grass, skin...” wrote the artist, reflecting on the quantity of voluntary and involuntary signs that bodies disseminate and spread onto different things. Unspecified edition size.
Walid Raad Oh God, he said, talking to a tree, 2010
11 1/4 x 8 1/4 in. (28.7 x 21 cm)
Limited Edition in 29 copies all numbered and signed by Walid Raad. 29 photograph of bombing during Lebanon war, taken between April 10, 2002 and August 8, 2006. The date and place of the bombing are shown each time in tiny letters in the lower right part of the page. The height of the letters corresponds to the size of a standing man, thus giving the scale of the explosion. Each book is covered with a wrapped, title in screen-printing grey. Inside the folder, an original photography corresponding to one of the 29 bombing. Each photograph are different. Digital print, numbered 1/1. Franck Bordas made the print on Hahnemulhe paper photo rag 300g.
Kamisaka Sekka | Kuromagae | 1901 | Zucker Art Books
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Jack Smith The Beautiful Book, 1962
FIRST PUBLISHED BOOK- The Beautiful Book comprises 19 hand-tipped black-and-white contact prints (2 1/4 x 2 1/4 inches), originally published in an edition of 200 copies. The photographs were produced mainly during the course of extended shooting sessions in Smith's Lower East Side apartment. Most date from the winter of 1962, although a few are earlier - including the final 'signature' photograph, a portrait of the artist on the steps beneath the Brooklyn Bridge taken by filmmaker Ken Jacobs. Nearly half the photographs feature the artist Marian Zazeela, who provided the design for the book's silk-screened cover. *This copy is signed by her. Smith and his associates assembled the books during the late spring and early summer of 1962, before shooting began on Flaming Creatures. Published and distributed by Piero Heliczer's press, the dead language. The only autonomous collection of Jack Smith's photographs to appear during his lifetime.
Jack Smith | The Beautiful Book | 1962 | Zucker Art Books
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Shuntaro Tanikawa Picture Book (Ehon), 1956
10 x 9 5/8 in. (25.5 x 24.3 cm)
First edition. Limited edition of 300 copies. 20 tipped-in offset photographs (incl. one on front cover). Japanese text. Quarto. Original cloth binding. Unpaginated, 44 pp. Tokyo, Matoba Shobo, dated: Showa 31 [i.e. 1956].
Tanikawa Shuntaro (b. 1931) is possibly Japan's most highly regarded living poet. He has written over sixty books in addition to translating Charles Schulz's Peanuts and the Mother Goose rhymes into Japanese. This is his fourth book of poetry, which Tanikawa illustrated with his own photographs and privately published. Extremely rare. Unrecorded. No copy in OCLC. No copy in ALC.
Shuntaro Tanikawa | Picture Book (Ehon) | 1956 | Zucker Art Books
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John Thomson Street Incidents, 1881
11 x 8 1/2 in. (28 x 21.5 cm)
4to, pp. 100; title page and final page quite browned but otherwise a clean copy in original decorated cloth, a little rubbed, spine a bit worn at head and tail. Street Incidents was a re-issue of unsold sheets of Street Life in London, Thomson’s 1877 pioneering documentary work described as ‘one of the most significant and far-reaching photo books in the medium’s history’ (Parr & Badger). Street Life was issued in twelve parts between 1877 and 1878 and contained 37 Woodbury types. ‘Few photographs of the London streets had been taken before Thomson’s journey around them, and even fewer were published with the intent of informing public opinion... To combine photographs of the London streets, and to place the poor, the working classes, criminals, and the homeless at the center of the images, was a new departure in the photographic documentation of the social topography of London, and Thomson’s innovative use of photomechanical technology heightened the effects of this portrayal. Perhaps the most striking feature of Street life in London is that the images have been reproduced photomechanically by the Woodbury type process from the photographer’s original dry-plate negatives. The resultant prints give a strikingly sharp, almost three-dimensional representation ...’ (Ovenden, p. 83). ‘The reason Street life has ultimately succeeded as the first social documentary photography is, therefore, because its primary aim was to inform... Rather, they aimed to transfer the experiences of the poor into the homes of the comfortable middle class, and to make them aware of a different, harsher reality’ (Ovenden, John Thomson p. 88).
John Thomson | Street Incidents | 1881 | Zucker Art Books
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Shomei Tomatsu OO! Shinjuku, 1969
7 3/8 x 10 1/8 in. (19 x 26 cm)
Paperback with illustrated cover. 120 black and white photographs with the text by Shomei Tomatsu at the end of the publication. It is no coincidence that this publication appeared at the same time as the second issue of Provoke is no coincidence. The photographer's exploration of the Shinjuku gay district focuses on similar subject matter, namely sex, drugs and underground lifestyles. Tomatsu's work contrasts with that of Morriyama or Nakahira in its clarity and precision.
Illustrated with 150 black-and-white photographs by Shomei Tomatsu, printed in monotone gravure. Original silver cloth with title debossed on cover and stamped in black on spine. With publisher's clear plastic jacket.
Nippon was the first publication of Tomatsu's own publishing company Shaken. The images collected in the book were originally designed to make up three separate photobooks: “11:02” Nagasaki, Osorezan: Countryside Politicians, Homes, and Asphalt and Occupation. Due to the collapse of the intended publisher, the separate projects remained unrealized until Tomatsu formed Shaken.
In Nippon, Tomatsu addresses the conundrum of Japanese postwar national identity. Most of the photos which make up this book were shot on assignment in various parts of the country between 1955 and 1967, and cover a broad range of topics concerning Japanese life. Tomatsu himself notes in a text at the back of the book, that while many of the photographs were published previously or exhibited (his work was being serialized in numerous photography periodicals during the late 1960s), in editing Nippon he was able to “recompose” the photographs, changing titles and themes. None of the book’s texts address the photographs directly, and instead follow more broad thematic routes. This re-editing of the photographs and their grouped themes, forms a parallel to the postwar restructuring that altered Japan's view of itself after the occupation.
[Ref. Ryuichi Kaneko & Ivan Vartanian, Japanese Photobooks of the 1960s and '70s, pp. 94-101]
Illustrated with reproductions of Tomatsu's photographs of Nagasaki after the atomic bomb. 4to, photo-pictorial boards, the spine shows darkening, else near fine, in the publisher's printed slipcase which has a small dampstain. Parr/Badger I 276; Hasselblad 226. The first book by this founding member of the Vivo group with Hosoe, Ikko and others. In 1961 Tomatsu worked with Ken Domon on the Hiroshima-Nagasaki document; this book is his subjective document, titled after the time of the atomic explosion. Tomatsu's influence has been of great importance in the development of modern Japanese photography. Signed by the photographer with his chopmark on the colophon.
Complete set of four unsigned heliogravures in color by Cy Twombly and eight poems by Octavio Paz, hors-texte, title, justification, colophon, and reproductions of the artist's drawings, text in English and German, on smooth wove and laid papers, signed on the colophon by Paz and Twombly.
Published by Udo and Anette Brandhorst, Cologne.
100 copies of the Special Edition (the total edition was 1,000), bound in two volumes (as issued), with full margins, in excellent condition, original paper-covered portfolios, and original paper covered slipcase.
Cy Twombly | Octavio Paz, Eight Poems, Cy Twombly, Ten drawings | 1993 | Zucker Art Books
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UNKNOWN Ken, 1970-1971
Ken was published by Shaken, a company established by the photographer Tomatsu Shomei, who provided the cover photograph for the first issue. Each of the three issues that appeared before the magazine ceased publication was edited by a different photographer: Sawano Yoshio, Naito Masatoshi, and Kimura Tsunehisa. The first issue contained criticism of the Osaka World Exposition and cultural criticism related to photography. Contributors included Taki Koji, Moriyama Daido, Nakahira Takuma, and Araki Nobuyoshi.
Maria Helena Vieira da Silva | Kô et Kô. Les duex Esquimaux | 1933 | Zucker Art Books
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Scott Williams Strange Secrets, 2007
80 pages, 8.5 x 7 x 2 inches. Pencil calligraphy, paper cut out, airbrushed hand cut stencils. Several years ago after a severe seizure Scott practiced writing and simple paper cutting in his sketchbooks, an excersize that assisted him in regaining his eye/hand coordination. Day by day for the past two years Scott has gone back over the initial writting and papercutting with airbrushed handcut stencil painitng. The result is a book of cryptic writing (which sometimes resolves into true English but primarily remains Williams-script) and pscycho-delic palimpsest harkens back to other enigmatic bookworks such as Aldus Manutius? Hypnerotomachia Poliphili and Leonardo DaVinci's backward-written sketchbooks.