William Blake Illustrations of the Book of Job, in Twenty-One Plates, Invented and Engraved by WIlliam Blake. London. Published by the Author & Mr. J. Linnell. 1825. (March 1826)., 1825
15 1/4 x 11 1/8 in. (39 x 28.5 cm)
Folio. Engraved title and 21 engravings on J WHATMAN / TURKEY MILL 1825. (Sheet size: c.15 x 10.5 Inch). Bound in ¾ brown morocco, printed title label with corrected address pasted to latter sheet. Small tear and corner repaired on first page, otherwise in fine condition.
The engravings for the Book of Job were commissioned formally by painter John Linnell (1792–1882) in an agreement of March 25, 1823. Despite a publication date of March 8, 1825 (the plates bear this date), they probably did not appear until early 1826 (the title label states “March, 1826”) and were sold sporadically by Linnell and his heirs over the course of the next century. Indeed, the family sold 68 sets of India proof copies at Christie's in 1918. Sets of the Illustrations for the Book of Job —the last complete series of engravings completed before Blake's death in 1827—with a contemporary provenance are of the utmost rarity and sets sold during the artist's lifetime and within a month of publication, are in practical terms unknown. Always fascinated by the Book of Job, Blake's engravings were based on a series of watercolors executed between 1805 and 1806 for his patron Thomas Butts. The first edition was issued in 3 versions: 150 copies on laid India with the word 'Proof' as here, 65 copies on French paper with 'Proof', and 100 on Whatman paper with the word 'Proof' erased.
*This edition is the Whatman paper first edition.
“It was produced while Blake was still working on Jerusalem, his most obscure book; yet the Illustrations are Blake's most lucid; and they are the supreme example of his reading the Bible in its Spiritual Sense.” (S. Foster Damon, A Blake Dictionary , pg. 217).
“This [Illustrations for the Book of Job] was the last work he completed, upon the merits of which he received the highest congratulations from the following Royal Academicians: Sir Thomas Lawrence... and many other artists of eminence.” (John Thomas Smith, [Joseph] Nollekens and His Times, 1829.
“Are there any greater illustrations to be found? They are Blake's most ambitious, most unchallengeable, series. His inspiration was never richer, and his execution never more consistently maintained.” (Osbert Burdett, William Blake, 1926).
William Blake | Illustrations of the Book of Job, in Twenty-One Plates, Invented and Engraved by WIlliam Blake. London. Published by the Author & Mr. J. Linnell. 1825. (March 1826). | 1825 | Zucker Art Books
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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)
Deluxe issue with hand sewn cover. Printed by Boetti in Ascoli Piceno, 1977. Text by Anne-Marie Sauzeau-Boetti. 1006 pages.
Boetti worked with Anne-Marie Sauzeau on this book for over seven years. The desire to reduce the world to the binary logic of “right or wrong” may well be an acrobatic feat of highly refined, abstract intelligence but it is knowledge that bypasses the world. At the time, the world’s rivers hadn’t been measured and measurements fluctuated substantially, regarding not only the source, but even the course and the mouth of the rivers. Fluctuations up to 100 miles in length were no exception. In the book, each page is devoted to one river with a factual list of its technical data. The book conveys metaphor, process, and reality. This copy is #31 of 150 deluxe copies, with hand-sewn cover. Ex-collection Umberto Morera.
Alighiero Boetti | I Mille Fiumi Più Lunghi del Mondo (Progetto) (Classifying the thousand longest rivers in the world) | 1977 | Zucker Art Books
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Louise Bourgeois ODE A LA BIEVRE, 2007
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.
Louise Bourgeois | ODE A LA BIEVRE | 2007 | Zucker Art Books
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Marcel Broodthaers La Conquête de l'espace, (The conquest of space), Atlas, 1975
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
Marcel Broodthaers | La Conquête de l'espace, (The conquest of space), Atlas | 1975 | 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.
This is copy number 3
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).
Enrico Castellani | ESTROFLESSIONE | 1968 | Zucker Art Books
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Robert Filliou Je Meurs Trop, 1977
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.
Robert Filliou | Je Meurs Trop | 1977 | Zucker Art Books
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Jenny Holzer TRUISMS (selections from 1977-79), 2013
13 3/8 x 11 1/2 x 5 7/8 in. (34 x 29.5 x 15 cm)
Digital animation with HD mini-projector in custom enclosure.
published by platypus editions, new york
Edition of 12
49-minute digital animation loop, comprised of 232 Truisms, running alphabetically in two rotations, with 32 unique animations. Powered by internal battery (1.5 hours) or AC current. Housed in a portable stormproof carrying case, with enclosure, numbered and signature stamped on the bottom.
Projection distance at 20 ft/ 6m Image Size 7ft/2m high and 10ft/3m wide. Letter Size: 1ft high
Enclosure: 8x5.5x9.5In. (20,3x14x9,5cm); Case:13x11.5x6In (34x29,5x15cm)
Jenny Holzer | TRUISMS (selections from 1977-79) | 2013 | Zucker Art Books
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Anish Kapoor Wound, 2005
22 x 30 3/8 x 11 in. (56 x 77 x 28 cm)
Publisher: Yvory Press
Edition : 25 copies plus one artist proof
Each edition consists of four parts. Part I is a paper-covered box, lined with paper and fabric. The lid of the box bears a hand-painted embossed design in a vivid red. Part II is a hand-bound book in white silk, containing photographs, and hand-colored facsimiles of drawings made for Wound.. The paper is handmade with Margaux Estampe white 320gsm. Part III is a paper sculpture made from two hundred and sixty-one stacked sheets of laser cut paper. Part IV is a framed sculpture consisting of fifty sheets of laser cut paper. The sheets are mounted on to a polished aluminum base and presented in a Perspex frame. Each of the four parts is signed and individually numbered by Anish Kapoor.
Roy Lichtenstein Moonscape, from 11 Pop Artists I, 1965
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
Enzo Mari | Variazione no 719 | 1963 | Zucker Art Books
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Enzo Mari REFLEX, 1962
3 1/8 x 3 1/8 x 3 1/8 in. (8 x 8 x 8 cm)
Melamine, silvered glass
In exploration of visible dilatations of a three-dimensional enclosed space, a reflecting plate is placed diagonally in the interior of a cube, which can be seen through openings in the sides. The specular part, either symmetrically or according to the visual angle, redoubles the surrounding space one or more times. Particular kinetic properties can be conferred on the object by movement on the part of the viewer.
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, Genoa. Edition of 100.
Using a series of three related and repeated 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 infinite combinations.
"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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Henri Matisse Cahiers d'Art, nos. 3-5, edition deluxe, 1936
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
Henri Matisse | Cahiers d'Art, nos. 3-5, edition deluxe | 1936 | Zucker Art Books
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Barry McGee Drypoint on Acid, 2006
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.
Barry McGee | Drypoint on Acid | 2006 | 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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Adam Pendleton Anthology #15, 2018
18 1/2 x 14 1/4 x 2 in. (47 x 36.2 x 5.1 cm)
Large folio with 200 compositions and a unique cover. Isolated photographs and fragments photocopied from the pages of books are layered with marks, dashes, patterns, shapes, and handwriting that frequently verges on abstraction. Each composition is unique, but many elements iterate and recombine throughout the series: masks, ceramics, phrases (“WHAT A DAY WAS THIS”; “IF THE FUNCTION”), and historical images related to modernism and decolonization in Africa. The book, which collates the works in chronological sequence, encourages readers to track these recurring components as they phase in and out across the book’s 200 pages.
The compositions are directly related to Pendleton’s collages on mylar and the book translates and indexes these source collages which are usually printed on transparent film whereas in Anthology they have been silkscreened onto Shoji paper. Reflecting on the combinatorial nature of the compositions, each book has a unique cover: a patterned black-and-white canvas fabric, screen printed with one of four handwritten texts.
Copy n 15 of 24
Printing ink on Chinese paper. Six pieces of handmade Chinese paper joined together with wheat starch paste.
Edition size: edition of 3 copies all unique
Printer, Publisher info: Self Published by the artist
Introductory Text from the artist
I am an Italian botanist based in Singapore. My research work focuses on the taxonomy and evolution of Apocynaceae subfamilies Asclepiadoideae, Periplocoideae and Secamonoideae in Southeast Asia and neighbouring regions. I also have a keen interest in the history of botanical illustration and I am a hobbyist printmaker.
Nature printing is the technique of taking a direct print from natural objects like leave and flowers without the interposition of a medium – whether through the lens of a camera or through the hands of an illustrator.
Nature printing has been used as a form of botanical illustration both in the West and in the East for centuries and it allows to capture very fine details of the plant morphology while requiring very little equipment. My principal inspiration for my printmaking is Japanese botanist Ito Keisuke, who used to sketch as well as to take nature prints of the plants he encountered. This is, to me, the perfect integration of art and science.
To challenge myself, since 2016 I started to make large prints, first in Edinburgh, Scotland, working together with Dr. Henry Noltie on leaves of Gunnera manicata and Tetrapanax papyrifer (one exhibited), and subsequently carrying on in Singapore with palms and one of my favourite subjects, Macaranga gigantea.
I like to use oil based ink as that allows slow drying so that I can print slowly. I mostly print in black but sometimes I like to mix other colours too, or add watercolour or acrylic later on. I experiment with a range of papers, from western thick printmaking papers to different types of machine and handmade Chinese and Japanese papers.
I like to obtain bold large print, exemplifying the lust exuberance of the tropical rainforest, but also make very detailed prints that are better appreciated when observed close up.
Dieter Roth Complete set of posters for the 9 Books and Graphics aka Bücher + Grafik exhibitions, 1972-74
18 posters in different sizes, 2 per show which are photographic reproductions of collage works by the artist. Roth created two striking similarly-themed-yet-different posters for each of the nine exhibiting venues between 1972 and 1974. These are illustrated as entries 3, 4, 5, 6, 7, 8, 11, 12, 15, 16, 18, 19, 20, 21, 22, 23, 24, and 25 on pages 56 and 57 in the Posters section of Dirk Dobke's "Dieter Roth: Books + Multiples. This set was acquired from the pioneering Soho conceptual and artist book dealer (plus publisher) Jaap Rietman.
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.
Dieter Roth | Stupidograms | 1962 | Zucker Art Books
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Dieter Roth BEWOGEN BEWEGING, 1961
39 3/8 x 27 1/2 in. (100 x 70 cm)
Poster designed for the famous moving movement exhibition in Amsterdam. The poster has a black background with silkscreened white and die cut circles. The bottom of the composition is set in sans-serif typeface. Imagine copies of this black-and-white poster pasted on walls previously containing advertising, or paint, or brick. These circular “windows” revealed glimpses of life underneath. The poster intended to be viewed differently depending on its environment.
Philip Taaffe | Hodie Mihi, Cras Tibi | 2015 | 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.
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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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.