Collection of catalogues from the Galleria dell'Ariete, Milan. Founded in 1955 by Beatrice Monti della Corte, the Galleria dell’Ariete rapidly became one of the foremost galleries for contemporary art, introducing young Italian artists to American collectors and promoting contemporary American artists in Italy through associations with the galleries Kasmin and Waddington in London, and Leo Castelli and Betty Parsons in New York. Of 212 catalogues published, this set comprises 198, the most complete group ever assembled. List furnished upon request.
Artists Divers Horacio Garcia Rossi, Julio Le Parc, Francois Morellet, Joel Stein, Francesco Sobrino, Jean Pierre Yveral. Group de recherche d'art visuel (GRAV), 1960-68.
27 7/8 x 27 7/8 in. (71 x 71 cm)
Editor: Luciano Caramel.
Silkscreen print portfolio, signed and numbered; 148 pages. Published for the retrospective exhibition of the GRAV, a group of opto-kinetic artists, held at Serre Ratti, Lake Como, curated by L. Caramel.
Publisher: Electa, Milan. Organization and printing: Willi Zuco. Printer: Sam Villa.
Artists Divers | Horacio Garcia Rossi, Julio Le Parc, Francois Morellet, Joel Stein, Francesco Sobrino, Jean Pierre Yveral. Group de recherche d'art visuel (GRAV), 1960-68.
| 1975 | 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. Edition of 20 copies
The Book of Job was Blake's last completed prophetic book: the text, a series of biblical quotations, appears above and below each etching, inscribed within decorative framing. Blake used these illustrations as a medium for spiritual teaching about humankind's search for the true God. The images are Blake's most lucid depictions and they are the superlative example of his reading of the Bible in its spiritual sense. “The modest size of the central panels does not prevent them from ranking with the supreme masterpieces of graphic art.” (Gordon N. Ray, The Illustrator and the Book in England from 1790 to 1914).
The original copper plates are now in the British Museum. Bound in 3/4 morocco with label from wrappers pasted down.
William Blake | The Book of Job | 1825 | Zucker Art Books
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Pierre Bonnard Unique copy of Bonnard Lithographe. Monte Carlo: André Sauret, 1952
Quarto. 97 color and black-and-white lithographic illustrations after Bonnard by Mourlot Frères, text printed by l’Imprimerie Union, Paris, on Grand Vélin Renage; original lithographed wrappers bound in brown morocco in the Janseniste style, spine lettered in gilt, top edges gilt, brown calf doublures, moiré liners. Slipcase.
Bonnard scholar Claude Roger-Marx’s own unique copy of his magisterial catalogue raisonné of Pierre Bonnard’s lithographic work, extra-illustrated with 17 drawings and sketches and 19 prints and augmented by ephemera—36 items added by the author. List upon request.
The book is inscribed in pencil on the half-title, “En homage amical, Claude R-Marx.”
The drawings range from an effervescent watercolor study for the celebrated poster France-Champagne (1891) to subtle pencil sketches of the artist’s wife Marthe in quiet interiors. Several cover sketches were for his nephew Charles Terrasse (1893–1982), who wrote a notable book on Bonnard and collaborated with him on the image for his piano piece Petites scènes familières, as illustrated. One other bookplate design is for Misia Sert, a pianist, art patron, and celebrated muse of the Nabis.
Provenance: Claude Roger-Mark (1888–1977), writer, composer, playwright, art critic, and art historian.
Irma Boom | Hommage à Kelly | 2016 | Zucker Art Books
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Irma Boom The Architecture of the Book, XXL Edition, 2010
13 1/2 x 17 5/8 in. (34.6 x 45 cm)
800 pages, 515 illustrations. Large soft cover book featuring an overview of Boom’s work housed in a grey box. Foreward by Rem Koolhaas.
Irma Boom has become one of the most widely renowned and respected book designers in the world today. Her often ingenious solutions to individual book productions have gained Boom international fame and her work is now collected by many leading museums such as the MoMA in New York.
Irma Boom | The Architecture of the Book, XXL Edition | 2010 | Zucker Art Books
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Georges Braque Les Paroles transparentes (Transparent Words), 1955
18 x 14 in. (45.7 x 35.6 cm)
Text by Jean Paulhan.
Published by the association Les Bibliophiles de l'Union Française, Paris. First edition, one of 132 exemplars produced for the members of the club (no copies were for sale). Illustrated with 14 lithographs in tones of blue or brown on handmade Auvergne du Moulin Richard de Bas paper; four are hors-texte. 84 loose quires in wrappers, half vellum sleeve, and slipcase; the slipcase with very minor imperfections, otherwise excellent condition.
Signed on the justification page in pencil by Georges Braque, Jean Paulhan and Leon Léal (club's president). Provenance J.R. Abbey. References: Vallier 102; Rauch 109; Monod 8909.
Victor Brauner | Frappe de l’Echo | 1940 | Zucker Art Books
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Robert Breer Image Par Images, 1955
4 7/8 x 3 5/8 in. (12.5 x 9.1 cm)
Unpaginated "flip-book" consisting of approx. 100 leaves printed recto only with simple abstract forms and shapes, that, when flipped, create an animated sequence of abstract images emphasizing movement and playfulness. Published in conjunction with a groundbreaking exhibition "Le Mouvement" at the Galerie Denise René in 1955, the first Kinetic Art show in Paris. Breer (1926-2011), known as the "kinetic poet of the avant-garde", was renowned for his spearheading efforts in animation, utilizing both abstract as well as representational images throughout a career of over 50 years. He worked with avant-garde movements of his time and was associated with high modernism, fluxus, pop, and other genres.
Robert Breer | Image Par Images | 1955 | 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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Sigrid Calon To the extend of / \ | & -, 2012
6 5/8 x 8 5/8 x 1 1/8 in. (17 x 22 x 3 cm)
Within the grid and beyond the pattern.
120 compositions in form & color, stencil printed on RISO.
This work arose out of Calon’s fascination with a grid; an embroidery grid, to be precise, with a minimal basic grating of 3 x 3 dots. With these dots, eight different (embroidery) stitches can be made.
When processed by the computer the stitches become lines and new graphic possibilities arise.
Lines can be repeated or joined to form a longer line. Lines can be rendered with outline or without.
Lines can be reproduced as form or as in-between form.
Lines and in-between forms can be put on top of, one another in layers.
Eight colors are employed in various combinations, with each combination appearing only once, generating 48 two-color combinations and 56 three-color combinations. Four-color combinations yield 72 options.
Sigrid Calon | To the extend of / \ | & - | 2012 | Zucker Art Books
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Pia Camil Xiuquilla/Blue milk weed, 2017
19 5/8 x 19 5/8 in. (50 x 50 cm)
Hand sewn cotton leporello book, with screenprinting, in cloth box with colophon.
Published by Zucker Art Books, NY. Edition of 8 variants, with 2 AP.
Each copy is signed and numbered.
Each book is handmade from repurposed fabrics the artist found in Mexico City. Camil’s interventions include cutting shapes common in cloth making such as sleeves, collars, torsos, and recombining them in a colorful array, hand sewn into a double sided sequence. She designed small buttonholes in between the panels so the work can be hung as a banner as well, choosing either side. This sort of interaction between the work and the viewer is a key element throughout Camil’s oeuvre, which even includes works to be worn or walked on.
Pia Camil (b. 1980) lives and works in Mexico City. She has a BFA from the Rhode Island School of Design and an MFA from the Slade School of Fine Art, London. Her work has been exhibited internationally, with recent solo-exhibitions including A Pot for a Latch, New Museum, New York (2016); Skins, Contemporary Arts Center, Cincinnati (2015); The Little Dog Laughed, Blum & Poe, Los Angeles (2014); and Cuadrado Negro, Basque Museum Centre for Contemporary Art, Vitoria-Gasteiz, Spain (2013).
Pia Camil | Xiuquilla/Blue milk weed | 2017 | Zucker Art Books
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Marc Chagall Les Sept péchés capitaux (Seven Deadly Sins), 1926
10 x 3 1/2 in. (25.5 x 9 cm)
15 etchings and one etching printed in sanguine, with two additional suites of the 15 etchings printed in sanguine (one on China paper and the other on Japan paper), with an original pen and ink sketch for one of the etchings. The text contains essays by Jean Giraudoux, Paul Morand, Pierre Mac Orlan, André Salmon, Max Jacob, Jacques de Lacretelle, and Joseph Kessel. Publisher: Simon Kra, Paris. Printed by Louis Fort. This is one of 15 deluxe copies on Japan paper, from an edition of 300. Numbered 4 on the justification with the drawing.
William Copley | Story of My Life (Buchlein) | 1965 | 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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M.C. Escher Regelmatige Vlakverdeling (Regular Division of the Plane), 1958
13 3/8 x 10 in. (34.1 x 25.5 cm)
Published by De Roos Foundation, Utrecht, Holland. 45 pages with six original woodcuts in black on gray wove paper, bound in cloth, including a separate suite of 6 plates in sanguine. Reference: Bool 1981, no.416–State 421.
M.C. Escher | Regelmatige Vlakverdeling (Regular Division of the Plane) | 1958 | Zucker Art Books
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M.C. Escher De vreeselijke avonturen van Scholastica (The Terrible Adventures of Scholastica), 1933
12 5/8 x 9 3/8 in. (32.1 x 23.9 cm)
Published by C.A.J. van Dishoeck, Bussum, Holland.
Copy 274 from the regular edition of 288, containing 18 original woodcut prints by M.C. Escher (6 full-page plates, 10 majuscules, 1 tailpiece) and text by Jan (Johannes Lodewijk) Walch about the witch of Oudewater. Reference: Bool 1981, no. 88, State–205.
M.C. Escher | De vreeselijke avonturen van Scholastica (The Terrible Adventures of Scholastica) | 1933 | Zucker Art Books
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Alberto Giacometti Douze Portraits du Celebre Orbandale, 1962
14 x 7 1/8 in. (35.7 x 18.4 cm)
Book comprising 12 original etchings on Rustic China paper.
Edition of 40 copies, numbered and signed by the artist and publisher, in it's original parchment cover. Published by Iliazd.
Reference: Lust No. 162-173
Alberto Giacometti's austere figures and portraits speak to human existence in a post-war era defined by alienation and uncertainty. Fascinated by the practice of representing the same sitter again and again to reveal the constant variability of a single person, Giacometti often took his wife, his mother, and his brother as subjects. In the series of 12 prints from which this work originates, the artist illustrates the Dada writer and editor Iliazd (Ilia Zdanevich), who was known as the architect, designer, and publisher of illustrated books of the School of Paris.
Alberto Giacometti | Douze Portraits du Celebre Orbandale | 1962 | 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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Stephan Köhler Mexico, 2000
7 3/8 x 20 in. (19 x 51 cm)
Collaboration with Clemens-Tobias Lange. Two volumes, bound in linen and silk with iron spine, housed in a wooden slipcase.
Published by CTL-Presse, Hamburg.
Each of the two volumes begins with excerpts from letters by Catalino (in Spanish with English translation), 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. Volume Two concerns the day’s fiesta, anticipating it in the letters, and the mixture of culture identification through photographs of processions, dances, and bullfights. The semi-transparent pages with Köhler’s photographs were printed in a darkroom on gelatin-coated Kozo Japanese paper handmade by the photographer in his Paper Bridge Mill in Gifu. 25 regular copies numbered 1–25 and 10 e.a. numbered 26–35. This copy is a special publisher’s copy, unnumbered.
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
Enzo Mari Ogetto a Composizione Autocondotta (Self-composed object), 1959
10 x 10 x 1 15/16 in. (25.5 x 25.5 x 5 cm)
Wood, Glass and paint; signed in ink.
Publisher: Galleria del Deposito, Geneva. Edition of 100.
Using a series of three related and repeated three-dimensional elements of squares, triangles and rhombi with equal bases inside a square space with one rectangular bar, Enzo Mari produces a natural phenomena engaging the viewer's participation. The rotation of the square produces nearly infinite combinations as the pieces fall into place.
References: “Enzo Mari, modelli del reale”, Mazzotta, Milan, 1988, p. 46
Avossa Antonio and Francesca Picchi, “Enzo Mari, il lavoro al
centro ”, Electa, Milan, 1999, p. 73
Enzo Mari | Ogetto a Composizione Autocondotta (Self-composed object) | 1959 | 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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Dieter Roth Little Tentative Recipe, 1969
3 1/2 x 3 1/2 x 3 1/2 in. (8.8 x 8.8 x 8.8 cm)
Approx. 800 rotaprints in color, adhesive binding house in wooden box. Design and binding by G. Paw and J. Wells, Watford, England. Printed by students of the Watford College of Art according to a “recipe” by d. rot. Published by Edition Hansjörg Mayer Stuttgart. 100 unique pieces, numbered. Copy number 5 addressed to Rudolf Zwirner. DR. CW. 20 # 41.
Dieter Roth | bok 1956-59 | 1959 | Zucker Art Books
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Jean Saudé Répertoire du goût moderne, No. 1-5, 1928-29
Five–volume set of folios, each with 40 loose color plates, some illustrated masterfully with the print technique pochoir, many highlighted with gold and silver. Designed by Georges Djo-Bourgeois. Hardcover portfolios with ribbon tie.
Published by Éditions Albert Lévy, Paris. Illustrations of French domestic interiors of the Art Deco period. Features the designs of Gabriel Guévrékian, Étienne Kohlmann, Robert Mallet-Stevens, Charlotte Perriand, Émile-Jacques Ruhlmann, Louis Sognot, and others. Important visual resource for interior designers and restorers.
Kate Shephard | Steiner Book Series 2 | 2017 | Zucker Art Books
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Kate Shephard Steiner Book Series/ Tangram 1, 2017
11 x 8 in. (27.9 x 20.3 cm)
16 pages of hand inked paper with 8 hand drawings of numbers using blocks from a Tangram set coveted by the artist. Colors in yellow, blue and white, applied as an ode to the Pittsburgh Steelers logo. Edition 1 of 2. Signed and numbered on back cover.
Kate Shephard | Steiner Book Series/ Tangram 1 | 2017 | Zucker Art Books
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Isabella Sinclair Indigenous Flowers of the Hawaiian Islands., 1885
First edition of first color plate book devoted to the flora of Hawaii. With 44 chromolithographed full-page plates with letterpress, printed by Leighton Brothers, beautifully bound. Published by Sampson Low, Marston, Searle, and Rivington, London.
Having studied botany in New Zealand, Sinclair began painting watercolors of the Hawaiian flora, carefully identifying each specimen with its botanical name as provided by Joseph Hooker, along with its natural habitat, its native name and other information. One of the most prized of Hawaiian books among collectors for its depictions of vanishing flora.
Josh Smith | Orange Book | 2015 | Zucker Art Books
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Josh Smith Tornado Book, 2015
10 13/16 x 8 3/8 in. (27.5 x 21.4 cm)
On the streets of New York the artist found a discarded student project about the weather phenomenon of tornadoes. He appropriated the pages into an artist’s book, using the pink sheets from the student’s presentation for the cover. Smith then made photocopies of ingeniously manipulated rubber bands simulating tornado images. Staple bound. Unique book.
Joël 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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Yves Tanguy La Vie Immediate, 1932
7 7/8 x 6 1/8 in. (20 x 15.5 cm)
Paris, Editions des Cahiers Libres
First book with an etching by Tanguy (ref. Wittrock 1) for poems by Paul Eluard. There were only 22 copies of the book with the etching; 10 regular copies with text printed in the plate and 12 author’s copies on blue mauve paper with the etching on Japon nacré. This copy is one of the 12 author’s copies with a dedication by Paul Eluard to Theodore Fraenkel, a doctor and classmate of André Breton. Exceptional example of this rare book, bound in leather by A. Demules. Edition of 12.
Yves Tanguy | La Vie Immediate | 1932 | 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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Joseph Mallord William Turner Liber Studiorum (Book of Studies), 1812
10 7/8 x 16 1/8 in. (27.6 x 41 cm)
Published by the artist, London. 1 vol. Folio.
This is a collection of 71 prints by J. M. W. Turner that he printed from 1807 to 1819. For their production, Turner created etchings, which were worked in mezzotint by his collaborating engravers. Of the proposed 100, 71 plates were published, with a further 20 printed but never published. The published plates are categorized as architectural, pastoral, marine, historical, and alpine with the corresponding initial printed above each.
Etched by the artist, engraved by Charles 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. Turner’s title for the series is a direct reference to Liber Veritatis of Claude Lorraine.
This is Lord Henry George Grey’s, (3rd Earl Grey) original copy in leather binding with gold embossed coronet on cover. Includes an engraver’s proof of a church interior making this a unique copy. This book is ex libris F. Hurlbutt.
Joseph Mallord William Turner | Liber Studiorum (Book of Studies) | 1812 | Zucker Art Books
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Christopher Wool Empire of the Goat, 1985
11 x 8 1/2 in. (27.9 x 21.6 cm)
Self published, the Wool’s second artist’s book, containing photocopies of paintings made in the early period of his oeuvre. Paper cover bound with Japanese string, bearing a red ink stamp of a goat on the cover. Signed, dated, and numbered in pencil. Edition of 33 copies. Mint condition.