John Baldessari | Throwing Three Balls in the Air to Get a Straight Line (Best of Thirty-Six Attempts) | 1973 | Zucker Art Books
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Miroslaw Balka Entering Paradise, 2003
15 3/4 x 15 1/8 in. (40 x 38.5 cm)
Bound book of 14 hard and soft ground etchings on natural Gampi and Rives de Lin papers. Text by Balka, letterpress.
The artist paid homeless people on the streets of California to allow him to imprint their bare feet (mostly toes) on a copper plate to make these prints. The result is a startling collection of strong but subtle images that reflect the frailty of human existence. The edition is limited to 25 copies: 1–10 are bound books; numbers 11-25 are portfolios of loose pages. There are three sets of artist’s proofs.
Published and printed by Edition Jacob Samuel, Santa Monica, CA.
Alighiero Boetti I Mille Fiumi Più Lunghi del Mondo (Progetto) . Classifying the thousand longest rivers in the world, 1977
8 3/8 x 6 3/8 x 2 1/8 in. (21.5 x 16.5 x 5.5 cm)
Printed by Boetti in Ascoli Piceno, 1977. Text by Anne-Marie Sauzeau-Boetti. Edition with red cover, numbered; 1006 pages.
Produced over seven years, Boetti collaborated with art critic Anne-Marie Sauzeau on this book. Boetti had a keen interest in the relationship between chance and order, the number and the world in various means of organization and classification, and the ways in which cultural order is imposed on the complexities of nature. Known to many scientists as “Boetti List,” the thousand- page book categorizes a thousand waterways in order of their length according to the most reliable sources at the time. Each page is devoted to one river with a factual list of its technical data. The book conveys metaphor, process, reality—at once poetic and scientific.
Marcel Broodthaers | LA CONQUETE DE L'ESPACE. Atlas | 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.
Sigrid Calon To the extend of / \ | &, 2012
13 3/8 x 18 in. (34 x 46 cm)
Within the grid and beyond the pattern.
Deluxe edition portfolio of only 10 copies consisting of 120 compositions from the large-edition book of same title, printed on 300 gram Munken Pure uncoated paper.
This work arose out of Calon’s fascination with color and a grid—an embroidery grid, to be precise—with a minimal basic grating of 3 x 3 dots. With these dots, 8 different embroidery stitches can be made. A book without text, it reads easily, with work that displays some extraordinarily disciplined and dedicated research, placing abstract forms rhythmically with tremendous chromatic power and opulence. Each color combination in this book appears only once.
Dieter Roth, Emmet Williams, Pol Bury and Daniel Spoerri | MATERIAL 1,2, 2 supl, 3, 5 | 1957-1960 | Zucker Art Books
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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.
Mark Dion | Fragments of travel, exploration and adventure | 2007 | 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.
Rachel Feinstein | Call Us Not Weeds But The Flowers Of The Sea | 2015 | Zucker Art Books
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Jannis Kounellis La via del sangue, 1973
5 7/8 x 4 3/8 in. (15 x 11 cm)
Seven burnt Italian wood matches, each mounted on a page annotated with a day of the week, Monday through Sunday.
Published by Galleria La Salita, Rome.
Kounellis created this artist’s book in conjunction with an exhibition titled “Apollo” at the Galleria La Salita in Rome in 1973.
During the course of a week, he came to the gallery daily and struck a match and mounted it onto paper, noting the day on the page. The artist often introduces temporal elements—fire, smoke, or ash—into his work. The simple act of striking a match to mark each day of the week suggests a ritualized cultural or religious expression, even one of penitence. In this instance, Kounellis is indirectly invoking Apollo, known as the god of light and the sun. Fine condition in publisher’s printed slipcase. Signed.
Jannis Kounellis | La via del sangue | 1973 | Zucker Art Books
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Guillermo Kuitca Puro Teatro, 2003
15 5/8 x 16 in. (40 x 40.6 cm)
Portfolio of 12 loose prints using hard ground etching and spit bite aquatint techniques on Rives de Lin and natural Campi papers from the Shikibu Paper Mill. The plates were made in the artist's studio in Buenos Aires during August, 2002. Two pages of text written by the artist.
Designed and printed by Jacob Samuel in Santa Monica, California, with assistance from Eric Ziemann. The edition is limited to 25 signed and numbered copies, and six sets of artist's proofs. Numbers 1-10 are bound books; numbers 11-25 are loose in portfolio boxes.
Guillermo Kuitca | Puro Teatro | 2003 | Zucker Art Books
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Le Corbusier Unité, 1965
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.
Barry McGee | Drypoint on Acid | 2006 | Zucker Art Books
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Beatriz Milhazes Coisa Linda, 2002
12 9/16 x 12 9/16 x 13/16 in. (32 x 32 x 2.2 cm)
Deluxe artist’s book with 34 hand printed screen prints, some on mylar, and a unique collage, with lyrics from Brazilian songs, in linen slipcase.
Publisher by Library Council of The Museum of Modern Art, New York.
Milhazes intends "Coisa Linda" to engage the senses and explore the connection between music and images, a connection that is especially deep in Brazilian culture. The exuberant abstractions respond to a range of musical sources, from words and phrases of the songs featured in the book to more general sights and sounds of the streets and samba schools of Rio de Janeiro.
Beatriz Milhazes | Coisa Linda | 2002 | Zucker Art Books
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Joan Miro Heraclitus of Ephesus: Sans le soleil, malgré les autres astres, il ferait nuit, 1965
13 x 10 1/4 in. (33 x 26.2 cm)
The portfolio of nine original etchings and aquatints in colors, hors-texte, with an additional etching on the title page; on Richard de Bas paper. In very good condition, loose (as issued), original paper wrappers with etching in colors on the cover, orange silk-covered boards with an etched signature, original brown cloth-covered box.
Joan Miro | Heraclitus of Ephesus: Sans le soleil, malgré les autres astres, il ferait nuit | 1965 | Zucker Art Books
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Alphonse Marie Mucha Documents Decoratifs, 1902
18 1/2 x 13 1/2 in. (47.3 x 34.3 cm)
The complete portfolio of four volumes comprise Mucha’s seminal style book; with a title page and text by Gabriel Mouray, and 72 stunning plates of a wide range of images, employing several printing techniques, including etching, heliogravure, and lithography among others; on wove paper, some on laid colored paper mounted on wove support sheet.
Published by Librairie Centrale des Beaux-Arts, Paris.
Some pale paper discoloration; loose, in original paper wrappers; the four volumes are contained in original paper-covered boards. A very fine and rare set.
Alphonse Marie Mucha | Documents Decoratifs | 1902 | Zucker Art Books
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Ken Ohara One, 1970
8 5/8 x 10 5/8 x 1 1/2 in. (22 x 27 x 4 cm)
A large-format catalogue of faces, shot on the streets New York where the Japanese-born photographer was an apprentice to Richard Avedon. The uniformity of the 500 B+W images, both in layout and tonal quality, dispense with individuality. The people depicted are of all ages and races; yet, their individualism and differences disappear—we are quite the same, all made up of two eyes, one nose and one mouth.
Published by Tsukiji Shokan Publishing Co., Tokyo.
This concrete poem visually and linguistically references techniques used in both printing and textile art to produce a sophisticated visual pun. The woven pattern of the words is strikingly reminiscent of (then) contemporary textile art, particularly the work of German-American artist Anni Albers.
Joel Stein | Jeux de trames (Play of Patterns) | 1962 | Zucker Art Books
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Sakai Hoitsu, Suzuki Sonoichi, and Nakano Sonoaki Shiki no hana [Flowers of the Four Seasons], 1908
10 7/8 x 7 3/8 in. (27.7 x 18.8 cm)
10 volumes, octavo. 239 colored woodblock plates (232 double-page). Bound in fukuro toji style (concertina fold-out form), between original paper-covered boards; paper title label on upper cover of each volume, all within a single contemporary blue cloth slipcase, the slipcase within a modern blue cloth box, with blue morocco title label on spine.
One of Japan’s most stunning and complete presentations of botanicals, representing the four seasons through fruiting trees and flowers.
The work was published just a century after it was begun. It is so extensive and deals with so many more plants than the conventional flowers of the four seasons of most artists that it is botanical, as well as artistic in conception. The artist and poet Hoitsu (1761-1828) served in the Imperial court. He painted this work from living specimens, and was assisted by his disciple Sonoichi who supplemented the work. Upon Hoitsu’s death, it was continued and finished by Sonoaki (1833-1892). He rounded out the work to contain some 1000 examples. The opus was printed for the first time in 1908 when the printer Yamada Naosaburo, Kyoto, received permission to publish it.
Sakai Hoitsu, Suzuki Sonoichi, and Nakano Sonoaki | Shiki no hana [Flowers of the Four Seasons] | 1908 | Zucker Art Books
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Toyokuni, Utamaro, Kunimasa Yakusha Gakuya Tsu, Picture-book of Portraits: Actors behind the Scenes, 1799
10 7/8 x 7 3/8 in. (27.7 x 18.8 cm)
Thirty-six full color actor portraits are in Edo style accompanied by poems and a delightful double page print by Utamaro. "The large head and the half length type of actor print had been among the great innovations of the 1780s and 1790s and these two artists excelled in these striking forms of portraiture, which recalled Western prints from the time of Durer onward, focusing on the features of the person portrayed with close-up intensity."Hiller. pg. 573.
Complete set of four unsigned heliogravures in colors 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 Octavio Paz and Cy 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.
Fujio Yoshida | Nasturtium | 1954 | Zucker Art Books
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Andrea Zittel Rules of Raugh, 2005
10 1/2 x 15 in. (26.7 x 38 cm)
Portfolio of nine etchings using hard-ground etching and spit bite aquatint techniques on Magnani Pescia and colored Gampi papers Hiromi Paper International, including one page of letterpress text, housed in a wood box. Edition 20 with four artist’s proofs.
Published by Edition Jacob Samuel; printing assisted by Eric Ziemann.
The work of Andrea Zittel has many aspects and falls into many categories. She is a painter, sculptor, architect, carpenter, building contractor, seamstress, evolutionary biologist, graphic designer, fashion designer, anthropologist, inventor, social scientist, educator, research psychologist, and nutritionist. "Rules of Raugh" (a made up word, as in raw) is the artist’s comprehensive philosophy relating to objects and their usage. The primary questions addressed range over aspects of the relationship of humans to notions such as wear, obsolescence, adaptability, ease, progress, and expertise. The illustrations depict furniture designs for a house—multi-use objects for dining areas, bedrooms, kitchens, and workrooms are rendered as specific articles with their functions distilled to the essentials.