EA/B Fair 2016

John Baldessari
Throwing Three Balls in the Air to Get a Straight Line (Best of Thirty-Six Attempts), 1973
7463-BK

9 5/8 x 12 3/4 in. (24.7 x 32.7 cm)

Portfolio of fourteen photolithographs with letterpress printed paper folio cover and fourteen leaves, incorporating title sheet, twelve sheets of images, and colophon page.

Published by Giampaolo Prearo/Galleria Toselli, Milan

Edition of 2000 copies; all unsigned and unnumbered.

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Miroslaw Balka
Entering Paradise, 2003
3485-BK

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. Edition of 20 copies

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Alighiero Boetti
I Mille Fiumi Pi√π Lunghi del Mondo (Progetto) (Classifying the thousand longest rivers in the world), 1977
7371-BK

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 on this book with art critic Anne-Marie Sauzeau. Boetti had a keen interest in the relationship between chance and order, numbers 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 plus-page book categorizes a thousand waterways in order of their length according to the most reliable documentary 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. Edition of 500 copies.

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Marcel Broodthaers
La ConquÁªte de l'espace, (The conquest of space), Atlas, 1975
3776-PR

19 1/4 x 24 3/4 in. (49 x 63 cm)

Lithograph in black ink; untrimmed sheet of the pages of a posthumously published miniature book by the artist called "The Conquest of Space: Atlas for the Use of Artists and the Military".
From the edition of only 50 copies. HC copy no. VII with Estate stamp on back.
Published by Lebeer Hossmann Éditeurs, Brussels and Hamburg

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James Lee Byars
The One Page Book, 1972
7151-BK

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.

Published by Michael Werner, Cologne.

Edition of 50 copies.

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Sigrid Calon
Carpet A, 2016
8551-PR

78 5/8 x 118 in. (200 x 300 cm)

Printed Flotex nylon carpet in 5 colors. Edition of 10. Each signed and numbered on the back.

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Sigrid Calon
To the extend of / \ | &, 2012
8232-BK

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.

Edition of 420 copies

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Enrico Castellani
ESTROFLESSIONE, 1968
7113-BK

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

Thermoformed plastic multiple and accompanying booklet with text on the artist by Vincenzo Agnetti, encased in printed cardboard box.
Published by Achille Mauri Editore, Milan.
Edition of 1000 copies.

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Dieter Roth, Emmet Williams, Pol Bury and Daniel Spoerri
MATERIAL 1,2, 2 supl, 3, 5, 1957-1960
5301-BK

8 x 7 3/4 in. (20.5 x 20 cm)

Complete set lacking only the second supplement of Roth to the second volume which consists of blank black and white pages with black cover; otherwise complete; in fine condition.

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Mark Dion
Fragments of travel, exploration and adventure, 2007
1879

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.

Edition of 6 deluxe copies with original drawing.

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Rachel Feinstein
Call Us Not Weeds But The Flowers Of The Sea, 2015
6542-BK

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.

Published by Edition Matthew Zucker, New York

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Jannis Kounellis
La via del sangue, 1973
4103-BK

5 7/8 x 4 3/8 in. (15 x 11 cm)

Seven burnt Italian wood matches, each mounted on the singed page annotated with a day of the week of the event, Monday through Sunday.
Published by Galleria La Salita, Rome.
Kounellis created this 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 on flyleaf. Edition #199 of 250 copies.

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Guillermo Kuitca
Puro Teatro, 2003
2160

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, CA, 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. Edition of 25 copies

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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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Roy Lichtenstein
Moonscape, from 11 Pop Artists I, 1965
6931-PR

23 7/8 x 19 7/8 in. (60.8 x 50.6 cm)

Screenprint in colors on blue Rowlux, signed and dated in pencil on the reverse, signed on back, edition of 200, published by Original Editions, New York. *EXCELLENT CONDITION
Printer: Knickerbocker Machine & Foundry Inc., New York

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Enzo Mari
Arte Programmata, Kinetische Kunst, 1963
8542-PR

39 1/4 x 27 1/2 in. (100 x 70 cm)

Screen print poster.

Printed by Officina d’Arte Grafica Lucini & C, Milan.

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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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Beatriz Milhazes
Coisa Linda, 2002
6852-BK

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.

Edition of 175 copies

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Joan Miro
Heraclitus of Ephesus: Sans le soleil, malgré les autres astres, il ferait nuit, 1965
4286-BK

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.

Published by Adrien Maeght, Paris.

Edition of 75 copies.

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Alphonse Marie Mucha
Documents Decoratifs, 1902
727

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.

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Ken Ohara
One, 1970
7982-BK

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.

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Julian Opie
Nature 2, 2015
6023-PR

23 3/8 x 23 3/8 in. (59.5 x 59.5 cm)

A series of six lenticular acrylic panels in frames specified by the artist.

Individual titles: Boats 1, Boats 2, Carp, Forest, Minnows, Sheep.

Edition of 35 copies.

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Dieter Roth
Proof impression Doubleheads, 1974
8501-PR

15 x 15 in. (38.1 x 38.1 cm)

Etching and dry point with photographic etching process for the background. Signed probe 1/1

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Dieter Roth
Proof impression Doubleheads, 1974
8521-PR

15 x 15 in. (38.1 x 38.1 cm)

Etching and dry point with photographic etching process for the background. Signed probe 2/2

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Dieter Roth
Relief Map, 1972
6941-PR

27 1/2 x 27 1/2 in. (70 x 70 cm)

Screen print, 33 colors, 35 printings on hardboard.
Edition of 40 copies

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Dieter Roth
Little Cloud, 1971
1197

27 1/2 x 24 3/8 in. (70 x 62 cm)

Intaglio engraving, black on white hand made paper with additions of butter and/or mayonnaise, in a plastic bag. Printed by Maurice Payne, London. Edition Petersburg Press, London.

Edition of 45 copies; numbered and signed.

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Dieter Roth
Piccadilly proof print, 1970
4712-OR

19 5/8 x 27 1/2 in. (50 x 70 cm)

Double sided screenprint on planographic printing (offset) four colors on white chromolux card, photomechanical reproductions of a picture postcard. Ex-collection Hans Sohm.

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Dieter Roth
Map (Landkarte), 1969
4456-PR

27 1/2 x 24 3/8 in. (70 x 62 cm)

Screen printing 3 colors on synthetic cloth, partially laminated on canvas; photomechanical reproduction of a painting. Printed by H. Wery, Cologne. Published by Dieter Roth, Cologne.
Coded message written below in German:
"man kann nichts für dich tun du hast schon alles selber gemacht"
(One can do nothing for you you have already done everything yourself)
Edition of 60 copies; numbered and signed.

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Dieter Roth
Piccadilly proof print, 1969
4722-OR

19 5/8 x 27 1/2 in. (50 x 70 cm)

Double sided screenprint on planographic printing (offset) four colors on white chromolux card, photomechanical reproductions of a picture postcard. Ex-collection Hans Sohm.

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Dieter Roth
Poesy 2 Deluxe, 1967
7391-BK

9 3/4 x 5 1/2 in. (25 x 14 cm)

18 sheets, letterpress on both sides of transparent plastic bags filled with dyed glue. Signed cloud drawing on first page and signed on colophon.
Total edition of 7. Publisher’s copy No. 0; Collection Rudolf Rieser.

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Dieter Roth
Poetrie 1 DELUXE, 1966
7381-BK

10 x 5 5/8 in. (25.4 x 14.3 cm)

No. 1 of the bi-annual review of poetry.
26 pages, letterpress on leather pages, hand sewn binding in folding leather box with lead insert.
Total edition of 7. Publisher’s copy No. 0; Collection Rudolf Rieser.

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Dieter Roth
Federfranse, sich aufloesend - Feather Fringe, self dissipating, 1965
3411-PR

16 3/4 x 14 in. (42.7 x 35.5 cm)

Ink on transparent paper. Monogrammed and dated: D.R. 65. This unique stamp drawing was made for Roth’s 1967 publication, "Mundunculum".

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Dieter Roth
Idee (Idea), 1960
7923-PR

9 3/4 x 9 3/4 in. (25 x 25 cm)

Typescript on paper.

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.

MATERIALS USED:

a typewriter

one 25 x 25 cm sheet

black and red typewriter ink

WORDS USED:

hoch = high, up, upright

liste = list

setzen = to set

drucken = to print

schneiden = to cut

binden = to bind

ohne = without

sohn = son

neid = envy

Signed on reverse

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Giulio Sanuto
Perseus and Andromeda, after Titian, 1562
4484-PR

19 5/8 x 14 15/16 in. (50 x 38 cm)

Engraving, ref. Bury 11
Provenance- Richard Jung (1911-1986), Fribourg, Switzerland, Lugt 3791; Private Collection, United Kingdom
Framed dim: 82.5 x 75 cm

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Kamisaka Sekka
Kuromagae, 1901
7043-BK

7 1/16 x 9 13/16 in. (18 x 25 cm)

Two volumes illustrated with a total of one hundred color plates showing an assortment of colors and decorative designs for kimono.

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Joel Stein
Jeux de trames (Play of Patterns), 1962
8381-BK

18 x 15 1/4 in. (46 x 39 cm)

Portfolio with 10 reliefs in color, signed by the artist. Text by Pierre Schaeffer.
Published by Éditions Georges Visat et Cie, Paris.
Edition of 103 copies.

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Sakai Hoitsu, Suzuki Sonoichi, and Nakano Sonoaki
Shiki no hana [Flowers of the Four Seasons], 1908
5311-BK

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.

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Toyokuni, Utamaro, Kunimasa
Yakusha Gakuya Tsu, Picture-book of Portraits: Actors behind the Scenes, 1799
3298-BK

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.

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Cy Twombly
Octavio Paz, Eight Poems, Cy Twombly, Ten drawings, 1993
5653-BK

13 1/8 x 10 in. (33.4 x 25.7 cm)

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.

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Christopher Wool
Four Short Stories, 2004
7903-BK

19 x 13 in. (48.3 x 33 cm)

Inkjet print on paper in four parts, each signed, dated, and numbered.

Printed by the artist. Originally made to benefit the Camden Arts Center in London.

Edition of 65 copies

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Fujio Yoshida
Flower C, 1954
4382-PR

15 5/8 x 10 3/4 in. (40 x 27.5 cm)

Woodblock print, signed

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Fujio Yoshida
Flowering Kale, 1954
4383-PR

15 5/8 x 10 3/4 in. (40 x 27.5 cm)

Woodblock print, signed

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Fujio Yoshida
Ladyslipper Orchid, 1954
4384-PR

15 5/8 x 10 3/4 in. (40 x 27.5 cm)

Woodblock print, signed

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Andrea Zittel
Rules of Raugh, 2005
1083

10 1/2 x 15 in. (26.7 x 38 cm)

Portfolio of nine loose etchings using hard-ground etching and spit bite aquatint techniques on Magnani Pescia and colored Gampi papers, including one text page and a colophon, housed in a handmade wood box. 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. Edition of 20 copies.

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