Search Results

Dieter Roth and Arnulf Rainer
Untitled, 1975
6123-OR

39 5/16 x 27 1/2 in. (100 x 70 cm)

Black crayon and white paint on offset proof sheet for the published book, Neo Nix und NEO-MIX, 1975 in an edition of 400 copies. Inscribed on bottom "For Hansjörg 29/30-4-1975" and signed by Roth in pencil and Rainer in red pen.

Price Upon Request

Noriko Ambe
Geography of the World II, 2004
1431

Book of cut paper, was exhibited in the Drawing Center show, Talespinning in 2004.

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Carl Andre
Art-Siegelaub, Xerox Book, 1968
11533-BK

8 x 10 in. (20.3 x 25.4 cm)

The Xerox Book was published by legendary dealer and curator Seth Siegelaub in 1968. Presenting a range of artists associated with Siegelaub’s curatorial practice and utilizing unconventional modes of exhibition, the book marks an ongoing attempt by Siegelaub to show work outside of the gallery setting, along with his first time presentation of an exhibition in book form. Siegelaub asked each artist to create 25 pages that responded to the photocopy format. Though the photocopy process proved financially unfeasible—the works ultimately being reproduced through the more conventional printing press—the book continued to be referred to as The Xerox Book—preserving its association with the then-new photocopy technology.
Participating artists were Carl Andre, Robert Barry, Douglas Huebler, Joseph Kosuth, Sol LeWitt, Robert Morris, and Lawrence Weiner

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Giovanni Anselmo
Leggere, 1972
11601-BK

6 5/8 x 4 1/2 in. (17 x 11.5 cm)

Original card covers with dust-jacket, titles to spine.
In Anselmo’s first artist’s book, the single word LEGGERE (To Read) gradually reduces in size, page after page, until it is nearly unreadable. Then it comes back progressively, until the word fills the complete field of vision of the book; the pages go completely black, and the word becomes obliterated. This copy is signed and inscribed by Anselmo in pencil on the inside back cover. Signed copies of this artist’s book are scarce. [Ref. Giorgio Maffei - Arte Povera 1966-1980. Librie documenti, p. 40; Germano Celant, Book as Artwork 1960/1972, p. 93]. Published by Sperone Editore, Turin

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Noboyoshi Araki
Tin Ashes, 2008
3218-BK

vol. 13 Nobuyoshi Araki photographs Michel Bulteau text Olivier Andreotti case The photographs belonging to Tin Ashes were taken in the early seventies. They represent crushed soda cans found in the streets of Tokyo and arranged as a tableau. The images remind us as much of New Realism as of Andy Warhol in their borrowing of the same ambiguous rapport to the icons of consumer society with that particular blend of fascination and critique. Araki’s “petchancola” have inspired Michel Bulteau to write six poems full of the spectre of death and the “practice of old witches or sorcerers”. For the poet, the cans represent funeral urns designed to carry ashes and bones. The poems, translated into Japanese, are printed as overprints with a two-coloured mesh, resulting in what resembles modular origami, some of which are assembled to form a decorative whole. The traycase takes its inspiration from the steep slopes that crown most buildings in Tokyo and its choice of material–painted plastic recalls contemporary Japanese architecture. Nobuyoshi Araki Artiste japonais né en 1940, Nobuyoshi Araki garde de son enfance le souvenir d’un Tokyo dévasté par les bombardements. Depuis plus de 30 ans, il observe et documente les mutations du Japon, dans une oeuvre particulièrement protéiforme, d’inspiration auto-biographique. Il est l’auteur de sa propre légende, son œuvre se développant à la façon d’un récit auto-biographique, hanté par la perte et la possession amoureuse. Michel Bulteau Michel Bulteau was 21 years old when he published Le Manifeste électrique (the Electric Manifesto). In 1972 he had the decisive encounter of meeting William Burroughs and Brion Gysin in London. He settled in New York in 1976 where he soon became part of the punk movement, joining the circle around Warhol and the Beat writers. His memories of New York infuse his book, New York est une fête, brought out by the French publishers, La Différence. After returning to Paris a certain dandyism and fin-de-siècle aesthetic, which has always hovered in the background, finds its full expression in a number of books: Minuties (La Différence, 1989), L’exilé de Venise, essai sur Corvo (Le Rocher, 1990), Le club des longues moustaches (Quai Voltaire, 1988). Description: Tokyo Triptych 3/3 6 original signed photographs (gelatin silver prints), mounted on cardboard Case made of painted plastic 46,8 x 42,7 x 5 cm Text in French and Japanese Limited edition of 40 copies November 2008 Graphic design: Olivier Andreotti

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Noboyoshi Araki
Midori, 1982
1916

Paperback with printed cover. Photographs by Araki. The photographs in Midori possess technical qualities, in particular a sharpness of grain, not present in Araki's previous work. The book's title references a classical heroine of that name from Japanese literature of the Meiji era. The heroine is portrayed here as a discreet young woman.

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Noboyoshi Araki
A photo novel, 1981
2152

wonderful book

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Noboyoshi Araki
Shashin gekijo: Tokyo ereji (A Photo Theater: Tokyo Elegy), 1981
1774

Paperback with illustrated dust-jacket and bellyband. Text by Shunji Ito and Kazuo Nishii. 1045 photographs shot between 1967 and 1972. Conceived by Araki. Here we see, for the first time, the themes of violent sexual practices and, in particular, of bondage so often present in the artist's work. The book combines black and white and colour imagery, with close-ups and wide angle shots, interior and landscape, frequently laid out in mosaic form. Tokyo Ereji was not published until ten years after its conception and realisation (1964 - 1972).

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Noboyoshi Araki
Tokyo, 1973
1761

First Edition. Thin quarto. The third book in the Sentimental Journey series, published by Araki under the auspices of the Geribara 5. "An expressionless city and a violent eroticism." (Koharto 71). The book follows a simple pattern: pink endpapers, no text, images on rectos only. Shots of bored or at best vaguely bemused pedestrians juxtaposed with women masturbating, or their fingers in condoms, or sucking bananas, etc. Photographed in a minimalist style that only heightens the mix. One of Araki's best and scarcest books. A little wear at the spine, else near fine in printed wrappers. While in many aspects, this work is a synthesis between previous two works, "Oh, Nippon"; and "Okinawa...". We find here the esoteric character of the first and association of the images in order to create singularity of the second. However, this time around, it's Tokyo that is the subject matter and the crowds streaming through its arteries.

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Noboyoshi Araki
Okinawa: Araki Nobuyoshi Shashinshu 2, Zoku Senchimentaru na tabi (Araki Nobuyoshi Photobook 2, Sentimental Journey continued), 1971
1756

7 1/8 x 5 in. (18 x 12.6 cm)

Tokyo: Self-published by the artist.



Published in an edition of 1000 unnumbered copies. Original wrappers, printed in black-and-white on both front and back covers. With 200 black-and-white photographs printed in offset. Design by Katsumi Yutani.

This copy is signed by Araki in blue pen on the first page, and includes with a drawing of a three-trunked elephant.



This is the second of the loose trilogy of privately printed books produced by Araki, preceded by Sentimental Journey (1971) and followed by Tokyo (1973). Araki took the photographs for this book during a visit to Okinawa, where he was working on a poster campaign for the Japanese Government to mark the return of Okinawa Island to Japanese administration after 27 years of United States control. Although the title suggests that it is a continuation of the work he made of his honeymoon in Sentimental Journey, the work is, in fact, unrelated and consists of a series of street scenes, some nudes and only a few photographs of his wife Yoko.



Two photographs are printed horizontally across each spread of this small-format book, with no partitioning space between them. A wide amount of white space surrounds these pairs of photographs, reinforcing the idea that they should be considered simultaneously, or even as one continuous image. Many of the images include advertisements and other photographs within the frame, such as the opening shot, which shows August Sander's photograph of two young boxers on the cover of Camera magazine.



[Ref. Andrew Roth, The Open Book: A History of the Photographic Book from 1878 to the Present, pp. 270-1; Ryuichi Kaneko & Ivan Vartanian, Japanese Photobooks of the 1960s and '70s, p. 114]

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Noboyoshi Araki
Oo Nippon (Oh Japan!), 1971
1754

10 5/8 x 8 1/8 in. (27 x 20.5 cm)

Paperback with printed cover. 225 photographs printed using the heliogravure method. Text by Uchida Eiichi. The strong erotic element of this work would become a characteristic of Araki's style. Female models are photographed nude in front of plain background and organised in sequence. Pubic hair is, in conformity with censorship laws, covered with dark marker pen. It was not allowed to show intercourse however when three pages are put together in s specific order Araki makes these scenes visable. *This was his FIRST published book, before this he did make a series of 25 hand made photocopy books in very small editions.

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Noboyoshi Araki
Senchimentaru no Tabi. (Sentimental Journey)., 1971
1755

Paperback with printed cover. Cardboard slipcase. 108 black and white photographs. Complete with text printed on a green fill-in paper glued on the inside of the cover, reflecting the bookseller's request, after the book had been printed, that Araki add an explanatory text. Without a doubt the most exemplary book by Nobuyoshi Araki, documenting the intimacy of his honeymoon with cutting honesty and the aesthetic of "Provoke". Araki would later refer to the "novel" or auto-fiction when discussing this work. The layout of the book is as important as the photographs. It was his first publication as an author and it had a decisive influence on several generations of photographers in Japan and elsewhere.

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Nobuyoshi Araki
Shashin gekijo: Tokyo ereji (A Photo Theater: Tokyo Elegy), 1981
1774

7 3/8 x 9 3/8 in. (19 x 24 cm)

Tokyo: Tojusha.



Illustrated with 1045 photographs taken between 1967 and 1972, in both color and black-and-white. Text by Shunji Ito and Kazuo Nishii. Original wrappers with photo-illustrated dust jacket and bellyband.



Originally scheduled for publication in 1972, but not published until almost a decade later, this work is a visual compendium of extreme images of sex and violence (the book was never published outside of Japan). The variety of edited scenarios include many of Araki's most famous images, including those of his wife Yoko and also Yukio Mishima (Kimitake Hiraoka, an author). The themes of violent sexual practice, and in particular of bondage, so often present in the artist's work are captured through a combination of black-and-white and color imagery, with the use of both numerous close-ups and wide-angle shots, and ranging from staged interiors to landscape views.

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Nobuyoshi Araki
Oh Nippon! (Oh Japan !), 1971
1754

10 5/8 x 8 in. (27 x 20.6 cm)

Tokyo: Miki Shuppan.



Illustrated with 225 black-and-white heliogravure-printed photographs. Design by Mikuo Nakamura. Textured endpapers. Original photo-illustrated French-style wrappers with elongated flaps.



First edition of Araki's initial conventionally published book following his early series of photocopy books. Despite the eroticism being more playful and non-threatening than is evident in his later bondage-obsessed books, Araki still to combat problems with the Japanese censors. Many of his proposed images were rejected. A compromise, at least in terms of Araki's original vision and imagery, was found with the development by Nakamura of a layout that split the rejected images into sections which could be reassembled by folding opposing pages together across multiple spreads. With the censors appeased, Araki was able to publish something close to the book he had originally intended.

Price Upon Request

Nobuyoshi Araki
Senchimentaru na Tabi (Sentimental Journey), 1971
1755

9 1/4 x 9 1/4 in. (23.8 x 23.8 cm)

Tokyo: Self-published by the artist.



With 108 black and white photographs printed in offset

Original black-and-white photo-illustrated wrappers, with the handwritten title in Japanese printed in black on the front cover, together with the book’s noted edition of 1,000 copies



This is Araki’s most influential book, and one of the most important photobooks of the twentieth century. Araki made these intensely personal photographs whilst on his honeymoon with his bride Yoko, whose name appears alongside her husband’s as co-author. The cover photograph is of their wedding. The photographing of this most intimate of occasions attracted much criticism in a country which still valued a strict code of behavior. In Japan, the “sentimental” had a most negative image, with connotations of obsessive self-absorption and a disregard for social and political issues; ultimately, by putting his private life forward for public scrutiny, Araki paved the way for successive generations of Japanese photographers to work in a similar vein.



[Ref. Andrew Roth, The Book of 101 Books: Seminal Photographic Books of the Twentieth Century, pp. 206-7; Martin Parr & Gerry Badger, The Photobook: A History, vol.I, p. 295; Andrew Roth, The Open Book: A History of the Photographic Book from 1878 to the Present, pp. 268-9; M. Auer, 802 photo books from the M. + M. Auer collection, p. 527; Ryuichi Kaneko & Ivan Vartanian, Japanese Photobooks of the 1960s and ‘70s, pp. 108-115]

Price Upon Request

Nobuyoshi Araki
Senchimentaru no Tabi. (Sentimental Journey), 1971
1882

9 1/4 x 9 1/4 in. (23.5 x 23.5 cm)

Tokyo: Privately printed, 1971. Araki is a major celebrity, but when this book was self-published in 1971, he was unknown. It is a photo diary of Araki's honeymoon, including an image of a gravestone that provides an eerie foreshadowing of a later book chronicling his wife's death. All the elements that make Araki a world-class photographer are on full display here: the juxtaposition of the erotic and the banal, the expressionless beauty of modern Japanese life, the unadorned image, reduced to its bare necessity. Sentimental Journey is one of the most important Japanese photobooks published. After hundreds of books and significant fame, it remains Araki's best and most influential work.

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William Armstrong
Electric movement in air and water with Supplement, 1897 and 1899
3737-BK

First and only edition. Though it was produced as a work of pure science, the photographic plates, reproduced a s luxurious autotypes, are what speak to us today. They are beautiful abstractimages, produced by sending electric discharges through water, similar in appearance to lightning, but more fullsome and symmetrical . Of this book the DNB states: "In 1897 Armstrongpublished a beautiful illustrated volume .. . in which he discussed the most remarkable series of figures ever obtained by electric charge over photographic plates . .. " Lord Armstrong (1810-1900)became immensly wealthy due to inventions in hydraulics and the manufacture of armaments; although the present volume was marketed at L1 lOs this was certainly a subsidized price considering the quality of the work. The photographs were made by Mr . Worsnop , "a well-known photographer in Rothbury . " Not mentioned in Ann Thomas (ed) , Beauty of another order, photography in science (1997); I suspect she was unaware of it. Vol II is titled: Supplement to Lord Armstrong's work on electric movement in air and water, being a continuation of his experiments together with an extension of them made in concert with Henry Stroud (1899). This volume contains an additional 14 plates of which 12 are printed in colors . This vol is rare; OCLC locate only 5 copies. 2 vols, folio (15 x 11"), orig. gilt dec. cloth. vii+55 pp. with 42 figs. in autotype on 32 plates (some folding). Vol II: vi+27 pp. with 14 plates (12 in colors). Vol II rebacked. Vol I inscribed: From Lord Armstrong with his compliments.

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Anna Atkins
Photographs of British Algae: Cyanotype Impressions, 1843
3714-BK

10 1/4 x 8 1/2 in. (26 x 21.5 cm)

Recognized as the first book to be photographically printed and illustrated, it is a landmark in the history of photography, employing the new process of cyanotype invented by Sir John Hershel in 1842. The plates were made by placing the dry specimens on light-sensitive paper and then exposing the sheets to sunlight. Self-published and printed in a limited number of copies for private circulation, each unique, comprising 306 elegantly arranged photographic prints of seaweeds listed in alphabetical order, with captions hand-written by Atkins. This copy is a rare volume that has remained in a private library for many years; bound in green morocco leather with a hand-written inscription.

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W., & G. Audsley
Polychromatic Decoration as applied to Buildings in the Mediaeval Styles., 1882
304

Folio. Publisher's cloth. viii, 32 pages, 36 plates each with unnumbered text leaves. First edition. [McLean, Victorian Book Design, pages 133-134; Hauck, 50.] This was the first authoritative English language guide to the use of medieval design. The authors were practicing architects in Liverpool and wrote the book to meet the growing demands of the gothic revival movement. The book was an instant success. Some of the Audsleys designs were directly copied to wallpaper and stencils. The thirty-six plates are fine chromolithographs by Firmin-Didot, Paris, the best color printers of the time.

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John James Audubon
The Birds of America, from Drawings Made in the US and their Territories, 1840-1844
283

Philadelphia: J. B. Chevalier, [1839-] 1840-1844., 1844. 7 volumes. 8vo., (10 1/8 x 6 4/8 inches). Half-titles, subscribers' lists at end of each volume. 500 hand-colored lithographed plates after Audubon by W.E. Hitchcock, R. Trembly and others, printed and colored by J.T. Bowen, wood-engraved anatomical diagrams in text (intermittent offsetting and spotting, particularly to the tissue guards and corresponding text leaves at the beginning and end of each volume). Bound in full red morocco gilt, elaborately decorated in gilt (extremities a bit rubbed). The first octavo edition of John James Audubon's masterpiece, a tall copy with colors very clean and fresh. The resulting series of 500 plates constitutes the most extensive American color-plate book produced up to that time.

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Alois Auer
Faust. Poligrafisch-illustrierte Zeitschrift, 1854
3051-BK

Monthly Illustrated magazine for Art, Science, Industry, and Social life the early, important compendium of printing methods and techniques. Early salt prints include St. Stephan's Cathedral and Tower, Venice, a microscopic image of a Fohren-Spinne larvae, magnified 3000 x and 3 magnified insect wings, by Ernst Heeger. The 32 early nature prints show lace samples, seaweeds, plants, sections of wood, leaves, textiles, fish tail, and a full bat with open wings! Also illustrated with hundreds of chromolithographs (several folding), woodcuts, etchings, engravings, mezzotints, embossings, and more featuring landscapes, genre scenes, nautical, medallions, flora and fauna, book illustration, and others. Alois Auer was the director of the Austrian State Printing House, at the time the largest and most advanced in Europe, which created illustrated volumes of scientific interest and produced many advances in printing technology.

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Tauba Auerbach
Spray Through(Tubes), 2011
4333-BK

16 x 13 3/4 in. (40.6 x 34.9 cm)

Drawing inspiration from principles of mathematics and physics, Auerbach’s work straddles conceptual art, abstraction, and design. With an evocation of graphic art, this book demonstrates systems of logic pictorially. Each sheet has an array of cutouts used as spray paint stencils to create a pattern of circles and tubular pill shapes. Spray paint on plotter cut Bristol paper with cloth binding. Card inserted in the book serves as the colophon.
Edition of 10 copies.

Price Upon Request

Tauba Auerbach
[2,3], 2011
4005-BK

20 5/8 x 16 3/8 x 4 3/8 in. (52.7 x 41.9 x 11.4 cm)

For [2,3], Auerbach has created an oversized pop-up book featuring six die-cut paper sculptures that unfold into elaborate forms. While much of Auerbach’s work has previously dealt with compositions staged in the flux state between 2D and 3D, [2,3] represents an expansion for the artist towards a more sculptural medium. Engineered by the artist, each “page” opens into a beautifully constructed object, intricately conceived so that the large-scale paper works—some up to 18” tall—can be collapsed totally flat. The six sculptures in [2,3] take their cue from a range of geometric forms—the pyramid, sphere, ziggurat, octagonal bipyramid (gem), arc, and möbius-strip. The use of a bright, contrasting palette is familiar from Auerbach’s previous work across a range of materials, including acrylics, etchings and C-type prints. This groundbreaking project stands as an astonishing art-object, part bookwork and part sculpture, and represents an advance in the field of pop-up technology. The six volumes will be housed in a specially designed slipcase, and each folio will measure 20” x 32” when open. [2,3] is co-published by Tauba Auerbach and Printed Matter, Inc. in a signed and numbered edition of 1,000. Although the edition was 1000, the book was unfortunately published shortly before Hurricane Sandy. The publisher's storage space was inundated with flood waters and the bulk of the edition was destroyed, making the few copies that were dispersed pre-Hurricane Sandy hard to locate.

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Tauba Auerbach
[2,3], 2011
4006-BK

Synopsis: For [2,3], Auerbach has created an oversized pop-up book featuring six die-cut paper sculptures that unfold into wonderful, elaborate forms. While much of Auerbach’s work has previously dealt with compositions staged in the flux state between 2D and 3D, [2,3] represents an expansion for the artist towards a more sculptural medium. Engineered by the artist, each “page” opens into a beautifully constructed object, intricately conceived so that the large-scale paper works—some up to 18” tall—can be collapsed totally flat. The six sculptures in [2,3] take their cue from a range of geometric forms—the pyramid, sphere, ziggurat, octagonal bipyramid (gem), arc, and möbius-strip. The use of a bright, contrasting palette is familiar from Auerbach’s previous work across a range of materials, including acrylics, etchings and C-type prints. This groundbreaking project stands as an astonishing art-object, part bookwork and part sculpture, and represents an advance in the field of pop-up technology. The six volumes will be housed in a specially designed slipcase, and each folio will measure 20” x 32” when open. [2,3] is co-published by Tauba Auerbach and Printed Matter, Inc. in a signed and numbered edition of 1,000 plus 100 proofs.

Price Upon Request

John Baldessari
The Life and Opinions of Tristram Shandy, Gentleman., 1988
1852

3 volumes, edition of 400 printed by letterpress on cotton Curtis Ruysdael paper. This deluxe set includes a facsimile of the complete 620-page text and an accordion-bound volume of Baldessari's 39 double photo-collages printed by offset lithography in black and 7 colors. The page photo-collages can be viewed as 2-page spreads or unfolded to an almost 40-foot length. Overall size approximately 11 x 8 x 4.5 inches; signed by the artist on the colophon; designed and printed by Andrew Hoyem. Volume 1 is bound in 3/4 green calf over marbled paper, volume 2 is in green boards with accordion-style pages, and volume 3 is in green boards. The three volumes housed in publisher's slipcase; overall in excellent condition. A very handsome production of this American illustrated book which was exhibited in Baldessari's LA MoCA, retrospective. "The artist's carefully composed photo collages from cropped and rearranged press photographs, movie stills, documentary shots, and other sources (most of which date from the late 1950s and early 1960s) present Tristram Shandy in modern dress" - D. Stein,

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John Baldessari
The Telephone Book (With Pearls), 1988
1704

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

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John Baldessari
Ingres and Other Parables, 1972
5663-BK

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’.

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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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Lewis Baltz
The new Industrial Parks near Irvine, California., 1974
2109

8 7/8 x 10 in. (22.5 x 25.4 cm)

First Edition Thus. Oblong 4to. Printed Buckram in Dust Jacket. Photography Monograph. Near Fine/Near Fine. np (110pp), 51 duotone illustrations. Designed by Thomas F. Barrow. Text in English and German. "The New Industrial Parks Near Irvine, California" is Lewis Baltz' landmark typological study that virtually single-handedly gave birth to the "New Topographics" movement. It reproduces as a full page each of the fifty-one images that comprised the 1974 Castelli Graphics photographic print portfolio of the same name that was issued in an edition of forty with six artist's proofs. A bright, most handsome example of the uncommon 1974 first printing (cited on pages 298-299 of The Hasselblad Center's "The Open Book", and pages 228-229 of "The Book of 101 Books").

In 1975, the year he published his first book , ‘The new Industrial Parks near Irvine, California,’ Lewis Baltz was also included in a landmark exhibition at the International Museum of Photography at George Eastman House called ‘New Topographics: Photographs of a Man-Altered Landscape.’ Although some of the participants in that show managed to elude the label, Baltz--along with Robert Adams, Stephen Shore, Henry Wessel, Jr., and Bernd and Hilla Becher--was effectively branded, and ‘The New Industrial Parks’ was paired with Adams’ 1974 ‘The New West’ as the most cogent, concise, and rigorous New Topographics documents produced in America. The label stuck primarily because it was invented to describe exactly what California-born Baltz had been doing since the late ‘60s: photograph the American landscape as a dead zone. Tamed, flattened and sectioned off into building sites and real-estate opportunities, Baltz’s New West--most of it located in California’s vast suburban sprawl--had long since lost any memory of magnificence and promise. In their place was the alluring vacuum of anonymity (though that seems beside the point in pictures devoid of any human presence) and desolation so complete it was almost elegant. Baltz had honed in on that austere, unlikely beauty in his earlier series on tract homes, but he refined his vision for the Irvine series, which focuses on the fac¸ades of windowless office blocks and electronics factories, some still in construction on barren lots, others landscaped as perfunctorily as a toll plaza.... [Unlike] Ed Ruscha’s genuinely artless images of apartment buildings and parking lots, Baltz’s pictures are pointedly artful. The Irvine series, though (presumably) despairing of the industrial parks’ cold emptiness, can’t help but establish its link to minimalist painting and sculpture, particularly Donald Judd’s boxes and Carl Andre’s concrete blocks” (Vince Aletti, in Roth): Thomas F. Barrow. Signed and inscribed by L. Baltz.

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Miquel Barcelo
El Libro de los Ciegos( Book of the Blind), 1993
4222-BK

With text in braille by Evgen Bavcar(a blind photographer from Slovenia). 80 pages with 48 lithographs, some with added amber varnish on thick wove paper pubished in Paris. Edition of 50 signed copies, this copy is exquisity bound with a goat skin binding and an alabaster cover made to reflect the surface of a canvas of the artist.

Price Upon Request

Gabriele Basilico
MIlano ritratti di fabbriche, 1981
4371-BK

10 3/8 x 9 1/2 in. (26.5 x 24 cm)

4th book with text by Tognoli

Price Upon Request

Gabriele Basilico
MIlano ritratti di fabbriche, 1981
4372-BK

10 5/8 x 9 1/2 in. (27 x 24 cm)

6th book with inscription

Price Upon Request

Bernd and Hilla Becher
Anonyme Skulpturen : A Typology of Technical Constructions, 1970
1694

Düsseldorf ART-PRESS Verlag, in association with Wittenborn and Co., New York. Bechers' FIRST major book containing 194 black and white photogravure plates and measuring approximately 11” x 9”, the book is bound in navy blue cloth-covered boards with title stamped in white on the cover and spine and is covered with a photographically illustrated dust jacket.
The German husband and wife team of Bernd and Hilla Becher have spent 40 years documenting the relics of the receding industrial age, classifying these near –obsolete structures according to function: lime kilns, cooling towers, blast furnaces winding towers, water towers, gas holders and silos. In this, their groundbreaking first book, the Bechers established the disciplined approach they would follow throughout their career, objective, centered views made with large-format cameras and finely grained black and white film, working under overcast skies early in the morning during spring and fall only to insure a diffuse light with minimal shadows.

Price Upon Request

Hans Bellmer
Les Jeux de la Poupée (The games of the doll), 1949
6463-BK

10 x 7 3/4 in. (25.4 x 19.7 cm)

Paris: Les Éditions premières

15 hand-colored gelatin silver prints all mounted within the book. The artist took a series of photographs of doll­s—a frequent subject for him—in various states of dismemberment and

rearrangement in settings he called “the necessary background of vice and enchantment.” The text consists of fourteen verses by Paul Éluard. Signed in pencil.

Copy no. 112 of 136.

Price Upon Request

Brigid Berlin
Untitled, 1972
4219-BK

6 1/16 x 4 5/16 in. (15.4 x 11 cm)

Former Warhol Factory acolyte, Berlin narcissistically documented her life via Polaroid photographs. This book is a unique example from a series of “tit paintings”—colorful prints made by pressing her painted or inked breasts on paper. Inscribed “For Bob with love, Brigid.” Ex-collection Robert Rauschenberg.

Price Upon Request

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
76

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 [1965], 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).

Price Upon Request

Alighiero Boetti
I Mille Fiumi Più Lunghi del Mondo (Progetto) (Classifying the thousand longest rivers in the world), 1977
10243-BK

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.

Price Upon Request

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.

Price Upon Request

Pierre Bonnard
Unique copy of Bonnard Lithographe. Monte Carlo: André Sauret, 1952
7521-BK

Claude Roger-Marx.



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.

Price Upon Request

Bonnet
Facies plantarum.Carcassonne,, 1809-10
4431-BK

In-folio de (6) pp., 34 planches. Rarissime ouvrage imprimé par 'impression naturelle' dont on ne connaît que deux autres exemplaires. C'est un des très rares ouvrages a avoir été imprimé de cette manière en France. Marcellin Bonnet, (1766- après 1822) né à Limoux était chirugien oculiste et pharmacien. Il a été reçu pharmacien par la jurande de cette ville en 1784. Il a commencé ce 'Facies plantarum' vers 1809 à Carcassonne. Le procédé employé pour imprimer ces belles planches nous est aujourd'hui complètement inconnu. 'Par quel procédé Bonnet a-t-il pu reproduire si fidèlement les plantes qui y sont représentées, si ce n'est par la plante elle-même. En retournant les feuillets on peut voir au verso de chacun d'eux, la trace en relief de la plante, ce qui prouve que le dessin de la nervuration des feuilles, la silhouette et les teintes ont été décalquées simultanément sur le vélin et par pression. Par quel moyen l'auteur a-t-il pu faire de chaque planche une aquarelle inimitable et absolument fidèle, nous l'ignorons.' (L. Chartier, Bulletin de la Société d'études scientifiques de l'Aude, 1892). Il y a quelques retouches au pinceau sur les planches. On imagine la quantité de travail et de temps qu'a exigé la réalisation de chaque plante. Inutile de dire que chacune des planches n'a pu être tiré qu'à quelques exemplaires. Nous avons dans cet exemplaire un feuillet contenant un titre, et une table pour les 15 premières planches qui est restée vierge, et 4 pages de légendes des plantes, avec commentaires, de 16 à 45 et 34 planches. Il n'existe que deux exemplaires de l'ouvrage dans les bibliothèques publiques : BM de Carcassonne et Bibliothèque de l'Institut. Ils contiennent tous deux 45 planches. La Bibliothèque Nationale a acquis en 1992 l'exemplaire de l'auteur qui comprenait 305 planches, sans texte. C'est le seul ouvrage de Bonnet qui se soit vendu depuis des dizaines d'années. Cet exemplaire provient d'une maison de Limoux, ville natale de l'auteur, et s'y trouvait très certainement depuis la publication de l'ouvrage. Même si cet exemplaire n'est pas tout à fait complet, c'est un ouvrage absolument introuvable aujourd'hui.This copy has a title page with below an unprinted table for the first 15 plates, 4 pages for captions of plates numbered 16 to 45 et 34 plates. Only two copies of this book are found in public libraries, both are in France. They have 45 plates. The Bibliothèque Nationale bought in 1992 the author's copy with 305 plates and without text. It was the only copy sold since decades. Provenance : This copy comes from a house in Limoux, a small town in the South of France, where the author was born. It was most certainly there, since the publication of this work.

Price Upon Request

Irma Boom
The Architecture of the Book, XXL Edition, 2010
09753-BK

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.

Edition of 150 signed and numbered copies.

Price Upon Request

Bosai
Mountains of the Heart, 1816
2279

10 5/8 x 7 1/2 in. (27 x 19 cm)

One volume, Holloway page 104, Mitchell page 383. Bosai lived from 1754 to 1826, at Edo. Mitchell says he established his own school and became very famous. 'Later in life he ceased studying and teaching and spent the rest of his days composing poetry and drinking sake'. Holloway reproduces several illustrations from the Imaginary Mountains: 9 to 12 in the black and white section. It is a book of subtle, calm, quiet, color woodcut with the most delicate and sometimes barely noticeable background tints. Commonly small figures share the landscape or view it, contemplating or fishing or conversing. Printed on fine, rather soft paper; original pale lilac covers with the remains of the original title label.

Price Upon Request

Louise Bourgeois
Ode a La Bievre, 2007
10342-BK

16 7/8 x 12 15/16 in. (43 x 33 cm)

Ode á la Bièvre was made by Louise Bourgeois in 2002 as an embroidered book from fragments of cloth. In the book, she reminisces, through images and text, about the impact the river had on her.



Her family moved next to the Bièvre in the suburbs of Paris when she was 8 years old (1919). Years later, Bourgeois was to go back to that 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."



Printed book of 52 pages, bound in white Japanese linen and presented in a cardboard slipcase. Edition of 1,800 copies

Price Upon Request

Louise Bourgeois
ODE A LA BIEVRE, 2007
1669

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.

Price Upon Request

Louise Bourgeois
Ode a La Bievre, 2007
2137

16 7/8 x 12 15/16 in. (43 x 33 cm)

Third version of the original book in fabric. Housed in a blind embossed cardboard slipcase, with a white Japanese linen embossed cover. Edition of 1800. 54 pages. Published by Matthew Zucker, New York.

Price Upon Request

Louise Bourgeois
Ode a La Bievre, 2007
7491-BK

16 7/8 x 12 15/16 in. (43 x 33 cm)

This 2007 book faithfully reproduces the original fabric work of the same year. Each 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 slipcase, each book is uniquely bound with hand dyed and distressed linen. Edition of 95 and 25 artist’s proofs. 54 pages. Published by Matthew Zucker, New York.

Price Upon Request

Louise Bourgeois
Ode a ma mere, deluxe issue, 1995
4073-BK

Complete book with text and a suite of the 9 etchings of spiders with all the etchings signed by the artist.

Price Upon Request

Henry Bradbury
Nature-Printed British Ferns: being Figures and Descriptions of the Species and Varieties of Ferns found in the United Kingdom., 1863
388

1st. (octavo) ed., 2 vols., 122 nature-printed plates in total. In England, the same technique was employed by Bradbury, with colour, when he came to make the illustrations for W. Johnstone's book of British seaweeds and for T. Moore's superb Ferns of Great Britain and Ireland (1857)" (Blunt). For this smaller octavo edition with more plates the same process was involved by which the ferns were printed in green and occasionally finished by additional brown hand-colouring. Reference: Jackson p. 240*; Nissen BBI 1401; Blunt p. 142; Stafleu & Cowan 6277

Price Upon Request

Georges Braque
Aout, 1958
92

With Dedication to Nicolous Rauch with pink painted design on title page. Four mixed etchings, of which two are printed in black, one in black with bistre border, and one in blue. Book signed by artist. Original wrappers in original cloth box. 9 7/8 x 12 7/8 inches.

Price Upon Request

Georges Braque
Cahier de George Braque, 1948
4236-BK

11 3/4 x 15 3/4 in. (30 x 40 cm)

In this book Georges Braque records his thoughts on art and life in his own handwriting and with his own illustrations. They are reproduced with ninety-four black and white photolithographs. During World War I Braque was wounded in the head and was temporarily blinded. This injury prevented him from painting for over a year. He resumed working in 1916 and the personal notes in this book began that year. This book has been very popular. It started its life in 1947 with a limited edition of only ninety-five signed copies of ninety-four pages each including three photolithographs, two in color. The second edition appeared in 1948 in two versions: one with a single lithograph and 750 unsigned copies on vélin du Marais, of which this copy is one, and another with a signed color lithograph and ninety-five copies on vélin d’Arches. The cover of this second edition is the same lithograph as for the first edition but it is printed in a single shade of blue rather than two shades of blue. On the half-title page, handwritten and lithographed, Braque erroneously wrote "Cahier de Georges Braque 1917-1947" rather than 1916-1947 as the cover lithograph indicates, and the error has been part of the book’s title and cataloging ever since. In 1956 Maeght worked with Pierre-André Benoit to produce a supplement which added twenty-four pages, which are included with this copy. Printed by Fernand Mourlot.

Price Upon Request

Victor Brauner
Frappe de l’Echo, 1940
4471-BK

7 1/2 x 5 1/2 in. (19.1 x 14 cm)

Baruner’s first artist’s book. Includes one signed etching and aquatint. Text by Robert Rius.

Published by Éditions Surréalistes, Paris.

One of the author’s copies with an inscription by the surrealist poet Rius to his friend and artist, Wolfgang Paalen "Who went stealing one night all the remaining sculptures on Easter Island."

Edition of 70 copies

Price Upon Request

Robert Breer
Image Par Images, 1955
4220-BK

4 7/8 x 3 5/8 in. (12.5 x 9.1 cm)

A unique flip book using only lines in movement dedicated to Robert Rauschenberg. Breer was best known for his films, which combine abstract and representational painting, hand-drawn rotoscoping, original 16mm and 8mm film footage, photographs, and other materials. Breer was an experimental filmmaker, painter, and sculptor. This unpaginated flip book is an experiment that helped him transit from painting to films. "I made a flip book of small paintings to try to understand how I arrived at making this final painting. I was working in very simple geometric forms, hard edge, conventional, you know, more or less conventional neo-plasticism. So, this first flip book then became the basis for a film on my next visit to America, which was that year, 1952, and yet I didn’t really use those original images. I had to invent my own system because I had no training in filmmaking at all and certainly none in animation. I only knew that I had to do one frame at a time."

Price Upon Request

Robert Breer
Image Par Images, 1955
4388-BK

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.

Price Upon Request

Marcel Broodthaers
La Conquête 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

Price Upon Request

Marcel Broodthaers
La Conquête de l'espace, Atlas à l’usage des artistes et des militaires, (The conquest of space, atlas for the use of artists and the military), 1975
6343-BK

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—it 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 “Estate M Broodthaers” and numbered by the publisher. Number 17 of 50 copies.

Price Upon Request

Kawamura Bumpo
Kanga Shinan Nihen, 1811
2289

10 1/4 x 6 3/4 in. (26 x 17 cm)

Three volumes. The first series had appeared in two volumes in 1779, but as usual the works are completely separate and independent. The first series of the Kanga Shinan had been illustrated by Kanyosai, not by Bumpo. This is much more than a painting manual of course. It includes studies of tree forms, house building, leaves; many pages of figures closely observed, not merely demonstrating ways to draw them, and taking part in all kinds of activities from calligraphy to painting to garden pruning or, more familiarly, leaning on a garden broom doing nothing, and kite-flying - almost such scenes as Hokusai showed in the Mangwa. Then we have a splendid series of the Hangchow lake scenery with the most delicate of color tints for outline and background; and a volume of strongly drawn scenes of mountain, shrine, wood, rock, cultivation and temple. Color is always used delicately in these books as light hint of tint rather than brilliant prominence. Original pale yellow and pale green covers, title labels. Mitchell, page 335; Holloway, figure 121 (final figure of his book).

Price Upon Request

Kawamura Bumpo
Gafu, 1807
2278

First series, one volume. Fine copy with the original embossed geometric blue covers in good condition and also the title label, as described by Mitchell, page 227. Bumpo lived from 1779 to 1821 in Kyoto. Mitchell writes 'Skilled at landscape and figures, his fame was equal to that of Ganku and he occupied a position in relation to Ganku similar to that of Rosetsu in relation to Okyo'. Holloway describes and reproduces him amply. This fine album with its bold line and outline shows across double pages both peaceful and complex compositions, generally using pale color, sometimes semi comic or more often simply pastoral, and occasionally devoting the composition to a sprig of plum blossom or a bird on a twig of willow. The colors are quietly and subtly handled, the range very wide. Hillier has a lot to say about Bumpo in his Chapter 11, page 232 onwards, and reproduces rather inadequately several examples from this book.

Price Upon Request

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.

Price Upon Request

Sigrid Calon
To the extend of / \ | &, 2012
09852-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 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 only 10 copies. The sold out book was an Edition of 420.

Price Upon Request

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

Price Upon Request

Pia Camil
Xiuquilla/Blue milk weed, 2017
09891-BK

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).

Price Upon Request

Pia Camil
Xiuquilla/Blue milk weed, 2017
09911-BK

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).

Price Upon Request

Pia Camil
Xiuquilla/Blue milk weed, 2017
09951-BK

19 5/8 x 19 5/8 in. (50 x 50 cm)

Hand sewn cotton accordion pleated leporello book, with screen printing, 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 textiles the artist found in Mexico City. Camil’s interventions include cutting shapes common in making of clothes 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 for display. This sort of interaction between the work and the viewer is a key element throughout Camil’s oeuvre, which includes works to be worn or walked on.

Price Upon Request

Pia Camil
Xiuquilla/Blue milk weed, 2017
9561-BK

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).

Price Upon Request

Castellani
ESTROFLESSIONE, 1968
7113-BK

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

Published by Achille Mauri Editore.

PVC white plastic injection moulded multiple, Book titled "Enrico Castellani Pittore" with text by V. Agnetti, encased in printed cardboard box.

edition of 1,000 copies

Price Upon Request

Marc Chagall
Jerusalem Windows, 1962
975

First American edition, with two original lithographs specially prepared for this book and with beautiful color reproductions of the artist's works. Illustrated are various drafts as well as the final versions of the 12 stained glass windows designed by Chagall (one for each of the tribes of Israel) for the synagogue of the hadassah-Hebrew University Medical Center.

Price Upon Request

Marc Chagall
De Mauvais Sujects, 1958
4276-BK

17 3/8 x 13 3/8 in. (44 x 34 cm)

With 10 original etchings by Chagall. Loose as issued with slipcase. Book signed by author, artist and editor. Kornfeld 106-15. 44 x 33 cm. 1 of 112

Price Upon Request

Marc Chagall
Bible, 1956
4237-BK

2 vols copy # 163 of 295 (Old Testament, French, 1638 Geneva translation) Two Volumes. Illustrated with 105 etchings by Chagall. Folio, bound in original publisher's wrappers. Book Description: Paris: Teriade Editeur, 1956, 1956. Paris: Teriade Editeur, 1956, first Chagall edition, two volumes, number 246 of 275 exemplars (total edition 295), printed on Montval paper, signed by Marc Chagall on the justification page. The complete book with the Bible text, illustrated with 105 original etchings by Marc Chagall; pp. 124 + 108, loose leaves in 2 thick Arches paper folders with four folded flaps and black printing on the front, inside publisher's 2 board chemises covered with grey paper printed in gold on the spine for each volume; housed in publisher's slipcase. In very close to excellent condition. Size of each book 18 x 13.5 x 3 in (46 x 35.5 x 7 cm); overall size 18.5 x 14 x 5.5 in (47 x 36 x 14 cm). References: Rauch 148; Klipstein 1960, The Artist & The Book 53; Cramer 29; Sorlier 199-303 (p.62); Monod 1532; The Artist & The Book in France p.326; Meyer 24; From Manet to Hockney 88.

Price Upon Request

Emily Charley
An Album of British seaweed specimens, 1856-1882
659

70 leaves of seaweed specimens with hand written titles . There is a full page poem about seaweeds which begins " The depths of the ocean, afford us a home, We ride to the shore on billows white foam" and is bordered by different types of seaweed. Included is one specimen collected from the Potomac River dated 1861 and another is sent from a friend "Lowestaft 1882". It shows us that the owner of this book kept on adding to it over 25 years and has been cherished for many years.

Price Upon Request

Michael Eugene Chevreul
THE LAWS OF CONTRAST OF COLOUR: and Their Application to the Arts of Painting, Decoration of BuildingsÉ Illumination, Landscape, and Flower Gardening, &c. Translated from the French by John Spanton. CHEVREUL, Michael Eugene, 1861
637

First edition in English with the color wood engravings by Edmund Evans. Routledge first published Spantons translation in 1857 with merely one color plate, but for subsequent editions he had the present attractive blocked sunburst binding created and charged Edmund Evans to make color wood engravings (not chromolithographs). Most of the prints in the book illustrate the effects of neighboring colors on the appearance of a given hue. Because all the colors were shown in discrete relatively large areas, not overlapping with any other color, these illustrations were particularly suited to Evanss method of color printing" (Friedman, Color Printing, n.106). The text was first published in 1857. Despite Chevreuls authorization of the translation, the text is shorter and condensed than the first translation, but this is the first edition to include the plates and a chapter on military clothing. Cf. Birren on Chevreul, pp.30-3. This edition not in Birren Collection, Herbert, or Indergand. Orig. blue cloth blocked in gilt & red in very fine condition.

Price Upon Request

Onishi Chinnen
Sonan Gafu, 1834
2274

10 5/8 x 7 1/8 in. (27 x 18 cm)

A celebrated example by the most accomplished artist of the Shijo School of the Edo Period in Japan. The color woodblock printing is sophisticated, imitating accurately the effects of the watercolor brush. There are amusing devices such as turtles aiming bow-and-arrow at a spread lotus leaf held out by another turtle; depictions of ordinary life of the fishermen coming home with their catch; bold and excellent compositions of flowers and leaves in a remarkable number of colors; a boat party on a lake by the mountains; a bird flying into wisteria; a marvelous great kimono whose wearer sits at her calligraphy. Jack Hillier, an authority on the art of the Japanese book, used the illustration of mountain pines on the cover of his definitive study on the genre Ehon. This is a superb copy, the printing particularly clear. Thread-bound book; 26 illustrated sheets and three sheets of text; woodblock; ink and color on paper. Signed, with red seal. JH 325.

Price Upon Request

Onishi Chinnen
Azuma No Teburi (Customs of the Eastern Capital, with subtitle, Scenes of the Great Peace), 1829
3060-BK

11 x 7 5/8 in. (28 x 19.5 cm)

Chinnen first book:""Azuma no Teburi" (Customs of the Eastern Capital, with subtitle, Scenes of the Great Peace), published in Edo, 1829. Mitchell, page 214. This work by Chinnen must rank high among the whole large group in book history which illustrates the ordinary doings and customs of the day. Hillier admires it especially: "Among the twenty-five double page prints are some of the masterpieces of Shijo in color print. Soft transparent pastel-like shades were employed and used broadly over areas sufficiently large to enable one fully to savor individual colors", and he reproduces several of which one can most enjoyably admire the double page of preparing nori (seaweed). The colors are less brilliant than in the "Sonan Gafu" by the same artist but the effect is not less dashing. Chinnen's books follow across more directly from one page to the next book. Original binding of silver printed over pale blue paper covers. Hillier 770-5

Price Upon Request

Anna Hellsgård Christian Gfeller
Quantumland 1, 2015
6252-BK

9 x 6 11/16 in. (23 x 17 cm)

Unique screen printed book, 22 pages, all pages glows in the dark. Quantumland 1 & 2 are two twin books containing each 32 original monotypes. The pages are overprinted with a layer of transparent phosphorescent paint. Phosphorescence's slow time scale of re-emission of light is associated with "forbidden" energy state transitions in quantum mechanics. And of course, as in quantum mechanics, you can appreciate the Doppelgänger books in different states: you can "read" them in daylight as well as in obscurity. Turning a flash light on and off will revel the duality of the work like an x-ray.

Price Upon Request

Anna Hellsgård Christian Gfeller
Quantumland 2, 2015
6262-BK

9 x 6 11/16 in. (23 x 17 cm)

Unique screen printed book, 24 pages, all

pages glows in the dark. Quantumland 1 & 2 are two twin books containing original monotypes. The pages are overprinted with a layer of transparent phosphorescent paint. Phosphorescence's slow time scale of re-emission of light is associated with "forbidden" energy state transitions in quantum mechanics. And of course, as in quantum mechanics, you can appreciate the Doppelgänger books in different states: you can "read" them in daylight as well as in obscurity. Turning a flash light on and off will revel the duality of the work like an x-ray.

Price Upon Request

Anna Hellsgård Christian Gfeller
Sans Titre, 2015
6242-BK

18 1/2 x 13 3/8 in. (47 x 34 cm)

A unique book featuring 32 original art works. Each piece is a screen printed monotype in which we push the boundaries of the serigraphy technique as well as experiment with forms, colors, layers and composition. The title "SANS TITRE" (Untitled in French) is a self-referential joke. It plays with a conceptual mise en abyme as well as refers to the textual whole of the work.

Price Upon Request

Al Copley
Story of My Life (Buchlein), 1965
4085-BK

Artist book with loose xerox photo-copies

Price Upon Request

William Copley
Story of My Life (Buchlein), 1965
4085-BK

4 1/4 x 5 in. (10.8 x 13 cm)

Artist’s book by jazz musician, with loose photocopies

Price Upon Request

Joesph Cornell
Maria, 1954
1398

[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.

Price Upon Request

Michael Craig-Martin
Book, deluxe issue, 1997
1143

A twenty Page bond artist's book consisting of ten double page screenprinted color images, bound in a grey cloth cover and contained in a matching box, plus a separate copy of one of double page images screenprinted on two loose sheets. The colophon page of the book and the separate image are signed and numbered 51/150-150/150. Each page measures 33.0 x 54.5 cm 7 the box measures 36.2 x 56.5 cm

Price Upon Request

L. and E. Ansberque Cusin
Herbier de la flore Française, 1867-76
561

Folio with 12 volumes of over 2400 nature-printed plates depicting plants of which the flowers are enlarged and handcoloured. The "procédé phytoxygraphique" or nature-printing gives the precise outlines and finest details of the plants with the greatest exactness. The flowers of the depicted plants are drawn enlarged and are almost all handcoloured. One of the largest "herbiers" ever published and the largest nature-printed plant book ever made! "The plates, although not pretty, are reproductions of actual specimens very carefully selected. They give the actual appearance of the plants very accurately and the separate drawings of the flowers in colour are well done". Fischer No. 96

Price Upon Request

Guy Debord & Asger Jorn
Memories, 1959
3784-BK

The book is a work of psychogeography, detailing a period in Debord's life when he was in the process of leaving the Letterists, setting up Lettrism International, and showing his 'first masterpiece', Hurlements en Faveur de Sade (Howling In Favour Of Sade), a film devoid of imagery that played white when people were talking on the soundtrack and black during the lengthy silences between. Credited to Guy-Ernest Debord, with structures portantes ('load-bearing structures') by Asger Jorn, the book contains 64 pages divided into three sections. The first section is called 'June 1952', and starts with a quote from Marx: Let the dead bury the dead, and mourn them.... our fate will be to become the first living people to enter the new life. The second section, 'December 1952', quotes Huizinga, and the third, 'September 1953', quotes Soubise. The work contains two separate layers. The first is printed with black ink, reproducing found text and graphics taken from newspapers and magazines. The second layer is printed using coloured inks, splashed across the pages. These sometimes connect images and text, sometimes cover them, and sometimes are seemingly unconnected. The black layer contains fragments of text, maps of Paris and London, illustrations of siege warfare, cheap reproductions of old masters and questions such as 'How do you feel about the world at the moment, Sir?' The coloured layer contains freefloating ink splashes, lines created by a matchstick loaded in ink, and a Rorschach inkblob.

Price Upon Request

Andre Derain
Pantagruel, 1943
73

13 5/8 x 11 in. (34.5 x 28 cm)

Paris: Albert Skira, 1943. 179 woodcuts by Derain, printed in color. Thick large 4to, full leather mosiac binding by Creuzevault with simulated wood grain covers and slipcase. 13 1/2 x 11 inches. The Artist and the Book 81.

Price Upon Request

Susan Derges
Azure, 2006
1806

8 1/2 x 6 1/2 in. (21.5 x 16.5 cm)

A 32-page linen bound book with text by Christopher Bucklow to accompany the exhibition of the same name held in 2006 at the Ingleby Gallery, Edinburgh, Scotland, of photographs of the River Taw and sea shoreline. This book contains a unique photogram, a fragment from the first works that Derges made on the River Taw in 1996.

Price Upon Request

Herman DeVries
Random Objectivation (with decreasing density), 1965
6903-OR

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

This circular wooden relief from 1965 is a paramount example of the ‘random-objectivations’ series. De Vries’s sources are either punch cards or numerical series chosen at random from the book Statistical tables for biological, agricultural and medical research edited by Fisher and Yates. Based on those codes, he developed a program that would, for example, assign a specific value to every number, that is, an x/y coordinate system that permits the deciphering of the heights, lengths and arrangement of the wooden cuboid. Combined with the omission of color, this leads to an architectural lightness that infuses the relief with a harmonious and balanced effect.



Herman de Vries created his first white collages in 1958. “As a result of an increasing drastic reduction of means” his works “became white and empty – empty also in terms of content.”

From 1960 onwards, together with the five artists Armando, Kees van Bohemen, Jan Henderikse, Henk Peeters and Jan Schoonhoven he belonged to the Netherlandish group called NUL, which had close ties with the German ZERO group. This association lead to the publication of the journal nul=0, a journal for a new conception of art in 1961. The artistic starting point is the new beginning, the zero point, the search for an objective art that is shorn of emotional value. As de Vries stated in an interview in 1984, ‘The white pictures I created at that time are the actual turning point, the beginning of everything that would come later, to which I [...] would constantly return as a reference. It was the most important time for me personally.”

*Single owner

exhibition history: Stedelijk Museum Amsterdam, Amsterdam, 'Atelier 2', September 24-October 24, 1965.

Price Upon Request

Jan Dibbets
Roodborst territorium/Sculptuur 1969, 1969
3679-BK

4 3/4 x 7 1/8 in. (12 x 18.2 cm)

Printed in west Germany. In English - Robin Redbreast's territory: April-June. Köln, Gebr. König; New York: Seth Siegelaub, 1970.Artist's book. Black and white. Wrappers. Perfect bound. Text in Dutch, English, French and German. Very good condition. 7.25 x 4.75". Unpaginated. 32 pages. "Many of the publications of Seth Siegelaub, for instance occupied a liminal space between documentation and art. Jan Dibbets's booklet Roodborst territorium / Sculptuur 1969 / Robin Redbreast's Territory / Sculpture 1969 . . . documents his attempts to enlarge a robin’s territory. He describes how he 'laid out the form of the new territory with small poles, like a drawing on the ground,' thereby drawing the robin out beyond the thicket in the Amsterdam park that was its customary habitat. 'The idea was to change, to enlarge the territory into a form that pleased me.... The sculpture was comprised by the movements of the bird between the erected poles.' But he then goes on to say, 'This sculpture-drawing can never be seen in its entirety; only through its documentation can the viewer reconstruct its form in his mind.'"

Price Upon Request

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.

Price Upon Request

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.

Price Upon Request

Artistes Divers CONTEMPORARY
Zeichnungen Catalogue from 1970, 1970
1115

Baselitz, Beuys, Buthe, Darboven, Erber Palermo, Polke, Richter, Roth, Hamilton.

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Artistes Divers CONTEMPORARY
SMS, 1968
4010-BK

Released in 1968, the SMS portfolio represented a collaboration between some of the most important artists of the 20th century. Centered around a loft on Manhattan's Upper West Side rented and maintained by the American Surrealist William Copley, SMS (a coy abbreviation for "Shit Must Stop") was an open-ended collective that epitomized the community ethos of the late 1960s. Frequented by artists, curators, performers and composers both accomplished and aspiring, Copley's loft became renowned for its utopian morale and hospitable working conditions, which included "a buffet perpetually replenished by nearby Zabar's Delicatessen, an open bar, and a pay phone with a cigar box filled with dimes."

Price Upon Request

Artistes Divers CONTEMPORARY
GRAPHIC SHÛDAN, 1960
3899-BK

No title (called : Maikurogurafikku / Shûchin bon, Micrographic / Miniature), 4 volumes ; Tokyo, self published (Graphic Shûdan), no date (1960), 84x80mm (slipcase), 76x76mm (book), 48p each volume, photographs by Shôzô Kitadai, Takashi Kiiima, Tadao Higuchi. Soft photographic cover, open slipcase, original cardboard ribbon. Direction, book design by Kitadai. Limited 1000 copies, numbered. Ref. Dict. of Japanese Photographers. Tokyo Metropolitan Museum of Photography, 2000, p.345. The Japanese Photobooks of the 1960s and 70s. Kaneko+Vartanian, New York, Aperture, 2009, p.46-49. Shozo Kitadai and experimental workshop, Taro Okamoto Museum of Art, 2003, p.126, (photographs) p.68-no.88, p.69-no.89. History of Japanese Photography, Houston, The Museum of Fine Arts, 2003, p.213. Graphic Shûdan was founded in 1953 with: -Photographers :Shôzô Kitadai, Osamu Hayasaki, Tadao Higuchi, Ken’ichi Hijikata, Takashi Kijima, Takeji Iwamiya, Kiyoshi Ôtsuji, Osamu Yagi -Graphic designers :Fumio Fushimi, Kôsaku Itô, Tadashi Masuda, Jô Murakoshi, Jun Ôtsuka, Ikkô Tanaka -Other Artistes :Hamao Hamada, Kiyoshi Hashimoto, Ayako Tsuji -Adviser :Shûzô Takiguchi. The group was created around Kitadai, a member of the Experimental Workshop (Jikken Kôbô) with cooperation of Ôtsuji, also a workshop member, and Shuzo Takiguchi, the founder of the workshop (He is a surrealist poet, a Contemporary Art critic, an adviser of almost all Japanese avant-garde artists, a bit like Duchamp). First published as a prototype of advertising, the books appear to be a showcase for experimental photographic methods with a taste of humor.

Price Upon Request

Artistes Divers DA
Ornements pour le Batiment
444

Album Maison L. Grados - Great little book on ornament and design

Price Upon Request

Artistes Divers MODERN
Tableaux de Paris, 1927
4263-BK

8 1/8 x 12 in. (20.6 x 30.5 cm)

Editions Emile-Paul Freres. Paris. With 20 full page original graphics, either lithographs or etchings. Edition limited to 225 copies. With 20 original prints by the leading artists of the 'Ecole de Paris': Bonnard, Segonzac, Foujita, Laurencin, Matisse, Rouault, Utrillo, Van Dongen, Ceria, Daragnes, Hermine David, Falke, Laborde, Marquet, Charles Martin, Moreau, Oberle, Pascin, Vlaminck, and Henri de Waroquier. this is a copy Hors Commerce of the deluxe edition. On Japan paper with a suite on Arches paper of all the plates in the book.

Price Upon Request

Peter Downsbrough
Beside, 1976
3712-BK

6 3/4 x 4 1/2 in. (17 x 11.5 cm)

Sydney: Michael Hobbs. First Edition. 12mo. An artist's book interspersing typographical images of vertical lines (or steel piping) with their photographic corollaries; minimal text. Near fine in wrappers.

Price Upon Request

Peter Downsbrough
In Front, 1975
3710-BK

6 3/4 x 4 3/4 in. (17 x 12 cm)

Gent Belgium: Jan Vercruysse, First Edition. 12mo. An artist's book with a single photograph on the front cover; contents are repetitive vertical lines and typography riffing off the parallel steel rods of the cover image. Staple to the front cover, else near fine in perfect bound photo illustrated wrappers.

Price Upon Request

Peter Downsbrough
Two Pipes Fourteen Locations, 1974
3709-BK

6 3/4 x 4 3/4 in. (17 x 12 cm)

New York: Norman Fisher. First Edition. 12mo. An artist's book of 64 photographs of steel pipes in 14 documented locations. Undervalued, especially in relation to other similar artist's books of the same era. Near fine in stapled wrappers.

Price Upon Request

Dieter Roth Drawings
Eine Brucke ( Mosfellsveit 1980) ( a bridge), 1996
1028

11 3/4 x 8 1/4 in. (29.7 x 21 cm)

51 sheets, drawings, colour photocopy, hnadwritten cover. adhesive binding. Published by Dieter Roth's Verlag, Bryggjuhùs Seydisfjördur. Edition 10/10 Numbered and signed. Dobke, Books and Multiples, pg.315. #10/10 and signed in Pencil on cover- #52 kopiebuch- 51 sheets, drawings, color photcopy. 1 of 10 with 2 aps

Price Upon Request

Dieter Roth Drawings
13 Brucken 1981, 1994
1025

8 1/4 x 11 3/4 in. (21 x 29.7 cm)

Amsterdam-Basel: 1994. 1 of 10 copies w/2 APs #7/10 and signed in Pencil on cover: #53 kopiebuch 21 x 29.7cm. This is the copy n 7 of 10 copies w/2 APs and signed in Pencil on cover: #53 kopiebuch.

Price Upon Request

Dieter Roth Drawings
21 Blumenbilder, 1994
1026

8 1/4 x 11 3/4 in. (21 x 29.7 cm)

#6/12 and signed in Pencil on cover- Basel 17 MAi 1998: #116 kopiebuch

Price Upon Request

Dieter Roth Drawings
27 Drawings made on the aeroplane, 1994
1027

8 1/4 x 11 3/4 in. (21 x 29.7 cm)

Signed in Pencil on cover- #40 kopiebuch. 52 sheets, colour photocopy.62 sheets, colour photocopy, handwritten cover. Adhesive binding. Published by Dieter roth's Verlag, Basel. Edition 2 of 10, numbered and signed, roman numbering

Price Upon Request

Dieter Roth Drawings
Bats and Dogs, 1981
1232

11 3/8 x 11 3/8 in. (29 x 29 cm)

Bats. 130 two handed drawings offset with an original pencil two handed drawing on last double page. adhesive binding. Dobke, Books and Multiples, pg.198 Dogs. 128 two handed drawings offset with an original pencil two handed drawing on last double page. Adhesive binding. 29x29cm. Dobke, Books and Multiples, pg.199. 130 bi-manual speedy drawings, offsetprint. Edition: 300. Publisher: Dieter Roth's Verlag and Rainer Verlag, Berlin. Artist books - Dieter Roth: offset print with original drawings on the final double pages, signed and numbered. In 1977 Roth created entire series: the series of speedy drawings "Trophies", "Bats" and "Dogs" are made with photographic reproduction and offset print, also in the form of books; these art books are specialized with enclosed original speedy drawings.

Price Upon Request

Dieter Roth Drawings
Trophies, 1979
1017

125 TWO-HUNDRED SPEEDY DRAWINGS. 256 pages, offset. Printed by Staib + Mayer, Stuttgart. Published by edition Hansjorg Mayer, Stuttgart, London. German edition: 2 colours, 25 X 18 cm, stitched, softback, with double dustjacket and an original Trophy by the author, signed. 200 numbered and signed copies. English edition: 23 X 17 cm, stitched, hardback in slipcase, with an original Trophy by the author, signed for Eaton House Publishers Ltd. 1000 copies. This is the copy n 41 of 200 . DR. CW. 40 # 90.

Price Upon Request

Dieter Roth Drawings
150 Speedy Drawings, 1977
4059-BK

8 1/4 x 11 3/4 in. (21 x 29.7 cm)

Offset printed book, hardbound with velum dj, signed and numbered edition of 110, 2nd edition.

Price Upon Request

Dieter Roth Drawings
Boeken, 1975
1392

13 x 9 in. (33 x 23 cm)

120 heads by Dieter Roth, 8 heads by Vera Roth. 128 pages, offset, stapled. Printed by Staib + Mayer, Stuttgart. Published by Stedelijk Museum, Amsterdam. 2000 copies. DR. CW. 40 # 82.

Price Upon Request

Dieter Roth Drawings
GORGONA, 1966
4075-BK

7 5/8 x 8 1/4 in. (19.5 x 21 cm)

15x10cm. Letterpress and pen on white paper, in paper cover. published by Vlastita Naklada, Josip Vanista, Zagreb. Edition of 200, numbered and signed. Artist's book in the form of issue 9 of11 issues, an anti-magazine which was part of the Gorgona group. Each issue with an original stupiogramme drawing by the artist. The art group Gorgona existed in Zagreb from 1959 until 1966. NOT IN DR. CW. 20.

Price Upon Request

Marcel Duchamp
Marcel Duchamp ou Le Château de la pureté, 1967
4546-BK

Text by Octavio Paz. Softcover book and folder containing suite of 16 serigraphs printed mylar sheets, (black & white repros.). Text in French. Signed by Duchamp and Paz, This copy is a collborators copy #ECG. Reference: No. 641 "The Complete Works of Marcel Duchamp" by Arturo Schwarz, Harry N. Abrams, New York, New York, 1970.

Price Upon Request

Carol Ec
Self, 2005
991

Artist book self printed and published from Los Angeles artist who grew up in the textile world.

Price Upon Request

Olafur Eliasson
Your House, 2006
1414

Hand bound book with 454 laser cut leaves.a laser-cut negative space rendering of his house in 85:1 scale. Bound in grey cloth with blind embossed title*POR

Price Upon Request

Tracy Emin
Exploration of the Soul, 1994
906

8 x 8 in. (20.3 x 20.3 cm)

Signed on inside with two original color photographs. Book is housed in a hand sewn white cloth bag with yellow letters "TE". Sold to fund a road trip undertaken by the artist from San Francisco to New York. Emin sold the book at galleries and other venues where she would give one-night performances reading from it.

Price Upon Request

Mitch Epstein
Fraternity, 2006
1836

vol. 7 Mitch Epstein photographs Siddharta Deb text Pierre Charpin case The author describes the daily life of two students at the University of Calcutta who come from very different social backgrounds, which they are both trying to escape from. The minute detail in which the author records their physical and mental movements and every change in mood finds its resonance in the refined prosaic nature of Mitch Epstein’s photographs. Pierre Charpin designed a traycase with a blue lacquered lid as an echo of the photographer’s strong emphasis on color and his ties with the Memphis movement. The text is fractured into seven modules, each contained within a uniform yellow form whose outlines recall the design of the casing. Mitch Epstein Mitch Epstein was born in 1952 in Holyoke, Massachusetts. His is one of the pioneers of color photography in the United States. His photos have been exhibited in numerous institutions throughout the world and form part of such prestigious collections as the Metropolitan Museum, New York, the MOMA and the Whitney Museum of American Art, New York. To this day he has had five books published: Recreation: American Photographs 1973-1988 (Steidl, 2005), Family Business (Steidl, 2003), The City (powerHouse Books, 2001), Vietnam: A Book of Changes (Norton/DoubleTake, 1996), Mitch Epstein: Work (Steidl, 2006). Siddharta Deb Siddharta Deb was born in 1970 in North East India. His first novel, The point of return, was selected as Book of the Year by The Times Literary Supplement and The New York Times. His last novel, An Outline of the Republic (published in England and India as Surface) has just been published in paperback. He has written on India for the Boston Globe, the Columbia Journalism Review and the Guardian. Pierre Charpin A graduate of L’Ecole Nationale des Beaux-Arts in Bourges, Pierre Charpin is known for his atypical designs charged with a strong plasticity, making him one of the leading figures in the avant-garde of French design. In tandem with his limited editions, and prototypical studies, he collaborates with various companies as Post Design, Zanotta, Montina, Venini, Alessi… He was awarded Designer of the Year at the Furniture Salon in Paris 2005. Description: 7 original signed photographs (chromogenic prints), set in photo-corners Case made of poplar wood, partially lacquered 58,8 x 42,6 x 4,9 cm Text in French and English Limited edition of 35 copies Juin 2006 Graphic design: Olivier Andreotti

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Max Ernst
Les chiens ont soif, 1964
4280-BK

18 1/8 x 13 in. (46 x 33 cm)

first edition, one of 250 exemplars (total edition 320), the complete book with text and 2 hors-texte original color etchings, each signed by Max Ernst in pencil, and 26 lithographs (most in color) after drawings by Ernst, printed by Mourlot on Arches; 17 x 12 in. (43 x 31 cm), 63 pages with text in French, loose leaves in a lithographed paper folder, housed in publisher's linen box. An excellent copy. number 240 of 250 with 2 signed print

Price Upon Request

Erro
INFRA- NOIR Le Soleil Noir, 1972
1791

Book-Sculpture with 12 Acrylic cubes with small figurines mounted in chrome on the book 'Infra-Noir'. Deluxe edition.

Price Upon Request

Erro
INFRA-NOIR, 1972
2162

7 7/16 x 5 1/2 in. (19 x 14 cm)

With text by Claude Pelieu, published by Soliel Noir. Artist Book with 12 acrylic cubes with small figurines inside. Deluxe edition. Copy n 77 of 150

Price Upon Request

Eugenius Johann Christoph Esper
1. Icones Fucorum cum characteribus sytematicis synonimis auctorum et descriptionibus novarum specierum. Abbildungen der Tange mit beygefügten systematischen Kennzeichen... Beschreibungen der neuen Gattunge, 1798
645

2 volumes. pp. (2), 217; (2), 132; iv; iii, with 183 (of 184) beautifully handcoloured engraved plates. Contemporary half calf, richly gilt ornamented spines, with blue and red gilt lettered labels, marbled sides. First and only edition. The 184 hand coloured copper engravings are by Esper. The importance of the book stems from the circumstance that it is one of the earliest physiological publications and that Esper's name is frequently cited in synonymies' (Stafleu & Cowan 1721). Volume I constists of 4 parts and volume II of 3. The plates are superbly handcoloured. A very fine and clean copy. Stafleu & Cowan 1721; Nissen BBI, 606. 1797

Price Upon Request

Barbara Ess
Human Life, 1979
10813-BK

[N.p.: Self-published, c. 1979]. Unique artist's book. Quarto. Original photographs and text in sleeves and commercial plastic binding. An early production from artist Barbara Ess, best-known as the editor of Just Another Asshole, and for her large scale photographs made with a pinhole camera. This work, likely made in the late 1970s, consists of a variety of portraits, usually paired with a fictional story. Spanning 48 pages on 24 individual sheets with 20 mounted color photographs, Ess' humorous narrative recalls later projects by Sophie Calle. Decidedly homespun in production, Ess' photographic virtuosity and textual wittiness belie a seemingly do-it-yourself aesthetic. All elements fine.

Price Upon Request

Dieter Roth Essays
Essay no. 11, 1989
4058-BK

12 3/4 x 9 1/2 in. (32.3 x 24 cm)

Signed edition 57/150 offset. Printed 24 pages (24 one-sided four-colour laser copies, bound, handwritten title). A4, oversize, stapled, adhesive binding, in plastic transparent folder packaged in a fiberboard envelope bearing an imprinted label.Written in 1988, published in 1989. edited by Dieter Roth. Published by Dieter Roth's Verlag, Basel. Editon B: the essay without poster, edition of 150, 1st prtg.

Price Upon Request

Dieter Roth Essays
Die Schastrommel(Organ der osterr Exilregierung), 1973
3461-BK

9 x 6 3/4 in. (23 x 17 cm)

Artists’ periodical edited by Günter Brus, with contributions by Brus, Friedrich Achleitner, Dieter Roth, Gerard Rühm, and Oswald Wiener. Original covers by Dieter Roth. Pictorial wrappers, offset-printed. Sewn bound, black-and-white. [unpaginated]. edition of 1000. Unsigned and Unnumbered . DR. CW. 40 # 91.

Price Upon Request

Dieter Roth Essays
Ein Essay: Uber das Verhalten des Allgemeinen zu oder gegennuber dem Besonderen bzw. des Besonderen zu order gegegnuber dem Allgemeinen, 1972
3991-BK

8 5/8 x 6 1/4 in. (22 x 16 cm)

ON THE RELATION OF THE GENERAL TO ORDER A SPECIAL OR THE GENERAL ORDERING A SPECIAL I. E. THE SPECIAL ORDERING A GENERAL. 504 pages, letterpress, stitched, softback, dustjacket, cover design: Jon Hjalmarsson. Printed by Prentsmidja Jons Helgasonar, Reykjavik. Published by edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 200 numbered and signed copies, 20 authors copies . DR. CW. 40 # 58.

Price Upon Request

Dieter Roth Essays
2 probleme unserer zeit vin Dieter Rot, 1971
3433-BK

9 x 5 7/8 in. (23 x 15 cm)

60 pages letterpress. stitched softback dustjacket. Printed by Prentsmioja Jons Helgasonar Reykjavik. published by verlag reykjavik. 200 numbered and signed copies. 20 authors copies. This is one of the printer copy so not numbered but signed , dated 21.7.71 and dedicated. DR. CW. 20 # 49.

Price Upon Request

Dieter Roth Essays
Eine Frage? ( A question?), 1971
3432-BK

5 7/8 x 8 1/4 in. (15 x 21 cm)

64 pages letterpress. 21 x 15 cm stapled. Publoshed by Verlag, Reikjavik. 200 numbered and signed copies, 50 author copies. This is copy number 120 of 200. DR. CW. 20 # 56.

Price Upon Request

Dieter Roth Essays
Franz Eggenschwiler: der Jungling, der Mann, die Zeit, das Werk. ( franz eggenschwiler the young man the man his time his work (until today 2 5 71}), 1971
1393

11 3/4 x 8 1/4 in. (29.7 x 21 cm)

64 pages original rotaprints. 29,6 x 21 cm stapled. Printed by R. May Dusseldorf. Published by edition Hansjorg Mayer Stuttgart. 400 copies. Thereof 130 numbered and signed as introduction to a portfolio of prints by Franz Eggenschwiler.tHIS COPY IN NOT NUMBERED OR SIGNED because is coming from the printer. DR. CW. 20 # 48.

Price Upon Request

Dieter Roth Essays
Wer Ist Der Der Nicht Weiss Wer Mozart War, 1971
3474-BK

9 x 6 1/8 in. (23 x 15.5 cm)

ein Essay von D. Rot. Ed. Verlag Reykjavik. 16 pages letterpress. 23 x 15,5 cm stapled dustjacket. Printed by Prentsmioja Jons Helgasonar. Reykjavik. Published by Verlag Reykjavik. 200 numbered and signed copies, 20 authors copies. This copy is one off the printer copy and is not signed. DR. CW. 20 # 55.

Price Upon Request

Dieter Roth Essays
wer war mozart ein essay von d. rot. (who was mozart an essay by d. rot), 1971
4315-BK

10 1/4 x 7 1/2 in. (26 x 19 cm)

16 pages letterpress. Stapled dustjacket. Cover illustration p. roesch. Printed by prentsmioja jons helgasonar reykjavik. Published by verlag reykjavik. 200 numbered and signed copies. 20 authors copies. This is the printer copy so unsigned. DR. CW. 20 # 54.

Price Upon Request

Rachel Feinstein
Happy Times, 2015
6473-BK

20 7/16 x 19 5/8 in. (52 x 50 cm)

This unique book arises from the artist’s fascination with the Baroque and with the notion of excess and accompanying ruin. She was drawn to the photographs of the Château de Groussay in France, once owned by the bon vivant and aesthete Carlos de Beistegui. Images of objects and interiors of the château are cut and manipulated by the artist, then collaged onto pages of a found object, a wallpaper sample book juxtaposing the opulence of the interiors with 1960s kitsch.

Wallpaper sheets with collage, rivet bound in red cloth-covered boards, 85 pages. Signed.

Price Upon Request

Fischli, Peter and Weiss, David
Bericht uber den kunstlerischen Schmuck im Neubau der Borse Zurich, 1995
1484

Fischli, Peter and Weiss, David. Book signed by both artists along with a photograph signed on the back.

Price Upon Request

Fischli, Peter and Weiss, David
Bericht uber den kunstlerischen Schmuck im Neubau der Borse Zurich, 1995
1484

Book signed by both artists along with a photograph signed on the back.

Price Upon Request

Lucio Fontana
Portrait d'Antonin Artaud by Otto Hahn, 1968
3780-BK

The book uncut along with signed and numbered "LF"pink elliptical multiple. 1/150 copies.

Price Upon Request

Lucio Fontana
Portrait d'Antonin Artaud by Otto Hahn, 1968
5522-BK

6 x 8 in. (15.2 x 20.3 cm)

The book uncut along with signed and numbered "LF"pink elliptical multiple. Edition of 150 copies.

Price Upon Request

Francesca Gabbiani
White Book, 2005
1844

Artist book of white, pop-up landscapes inspired by the popular non-fiction novel Devil in the White City by Erik Larson, an account of the architect responsible for the 1893 Chicago Worlds Columbian Exposition and the serial killer who worked in its midst. Gabbiani has painstakingly cut in white paper miniature the architectural structures, most notably the Ferris wheel, that reveal the magical appeal and horrifying events of that Worlds Fair. Edition of 20 copies with deluxe copies, 1-6 each having a print with the book. This has the print and is #4 of 20.

Price Upon Request

Francesca Gabbiani
White Book, 2005
2131

FIRST artist's book of white, pop-up landscapes inspired by the popular non-fiction novel Devil in the White City by Erik Larson, an account of the architect responsible for the 1893 Chicago Worlds Columbian Exposition and the serial killer who worked in its midst. Gabbiani has painstakingly cut in white paper miniature the architectural structures, most notably the Ferris wheel, that reveal the magical appeal and horrifying events of that Worlds Fair. Edition of 20, this being copy number 18.

Price Upon Request

GERIBARA 5. [Nobuyoshi Araki et al].
Mizugi no Yangu Redii-Tachi (Bathing Beauties); Benjo (Toilet); Five Girls, 1971, 1971, 1972
1757

7 1/8 x 10 in. (18.2 x 25.4 cm)

Tokyo: Fukushu-Shudan, Geribara 5.



Benjo: 104 black-and-white photographs printed in offset. Side-stapled in original photo-illustrated wrappers.



Mizugi no Yangu Redii-Tachi: 306 black-and-white photographs printed in offset. Side-stapled in original photo-illustrated wrappers.



Five Girls: 84 black-and-white photographs printed in offset. Side-stapled in original photo-illustrated wrappers.



The complete set of three books produced by Geribara 5 [The Diarrhoea-Shit Reproductive Collective of 5], a group which consisted of Araki, Yoshio Takase, Koji Yaehata, Naohosia Tabogami, Fukuo Ikeda, and Tomoko 'Miss Geribara' Kamiguchi, which flourished briefly in the early 1970s.

Benjo contains a series of photographs taken in Tokyo restrooms of the toilets and attendant graffiti. Each page of Mizugi no Yangu Redii-Tach contains three photographs showing different young women on the beach in bathing suits. Below each photograph is the girl's address and telephone number, half of which are allegedly made up, the rest genuine according to Shuji Terayama, who apparently tried phoning all of them. The last book, Five Girls, contains photographs of five models posing in various styles.

[Ref. Martin Parr & Gerry Badger, The Photobook: A History, vol.I, p. 296].

Price Upon Request

Luigi Ghirri
Cactus, 1973
4433-PH

7 1/2 x 11 1/4 in. (19 x 28.5 cm)

C-Print, signed and dated on verso and on card . Published in the Thomas Demand book, La carte d'apres nature. Page 60.

Price Upon Request

Alberto Giacometti
Douze Portraits du Celebre Orbandale, 1962
9563-BK

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.

Price Upon Request

H. R Giger
A Rh+, 1971
1170

Giger"s first book, with his strange sci-fi ultra-Swiss pop imagery, which led to his designing Aliens. Scarce first edition. Only published in large paper-back

Price Upon Request

Dan Graham
End Moments, 1969
11513-BK

11 x 8 3/8 in. (28 x 21.5 cm)

Black and white offset-printed artist's book self-published by the artist in 1969, 68 pages. Contains essays: “Dan Martin / Entertainment as Satire,” “Subject Matter,” “Photographs of Motion,” “Information,” ”Home for America,” “Sign and Object,” “Magazine As System / Ads' Function,” “Likes,” “Two Structures / Sol LeWitt” and additional projects. Incorporates several quirks such as no page numbered 24, two pages numbered 26, and no pages 57 and 58.
Reference: “Book as Artwork 1960 / 1972” by Germano Celant. London, United Kingdom, Nigel Greenwood Inc. Ltd., 1972

Price Upon Request

J.J. Grandville
Metamorphoses du Jour, 1829
54

Title page, introduction by Achille Comte plus 71 hand colored lithographic plates by Grandville. First Edtition. Oblong 4to, 13 x 10 1/4 inches,bound in half green morocco with raised bands and gilt tooling with lettering on marbled boards. The title page has been expertly repaired, the plates are in very good condition with the smallest bit of spotting to some. "This famous album, which established Grandville's early style of bitter burlesque, has become rare. The title page/cover design, a magic lantern display exemplifies Grandville's method..." Ray, Art of the French Illustrated Book, page 197-198. Each plate is succeeded by a short piece of satirical prose, using Grandville's anthropomorphic creations as their inspiration.

Price Upon Request

Andreas Gursky
Montparnasse, 1995
3668-BK

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.

Price Upon Request

Andreas Gursky
Andreas Gursky, 1989
4394-BK

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.

Price Upon Request

Andreas Gursky
Andreas Gursky, 1989
4395-BK

First Edition. Small oblong quarto. A catalogue for Andreas Gursky's first exhibition, held at Museum Haus Lange in Krefeld, Germany, November 5 - December 12, 1989. 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 fine card jacket with French flaps.

Price Upon Request

Guy Debord & Asger Jorn
Memories, 1959
3784-BK

The book is a work of psychogeography, detailing a period in Debord's life when he was in the process of leaving the Letterists, setting up Lettrism International, and showing his 'first masterpiece', Hurlements en Faveur de Sade (Howling In Favour Of Sade), a film devoid of imagery that played white when people were talking on the soundtrack and black during the lengthy silences between. Credited to Guy-Ernest Debord, with structures portantes ('load-bearing structures') by Asger Jorn, the book contains 64 pages divided into three sections. The first section is called 'June 1952', and starts with a quote from Marx: Let the dead bury the dead, and mourn them.... our fate will be to become the first living people to enter the new life. The second section, 'December 1952', quotes Huizinga, and the third, 'September 1953', quotes Soubise. The work contains two separate layers. The first is printed with black ink, reproducing found text and graphics taken from newspapers and magazines. The second layer is printed using coloured inks, splashed across the pages. These sometimes connect images and text, sometimes cover them, and sometimes are seemingly unconnected. The black layer contains fragments of text, maps of Paris and London, illustrations of siege warfare, cheap reproductions of old masters and questions such as 'How do you feel about the world at the moment, Sir?' The coloured layer contains freefloating ink splashes, lines created by a matchstick loaded in ink, and a Rorschach inkblob.

Price Upon Request

Alfred/Alex Hartwich/Herlinger
Die Brautnacht and Flucht aus der Ehe, 1931
3967-BK

24 x 17 in. (61 cm)

(EROTICA) Illustrated with reproductions of erotic drawings, engravings, photographs in half-tone and gravure after works by Perckhammer, von Bayros, Willinger-Lechner, Manasse, Schein, and others. With eight color plates. 192 pp. With 6 mounted photographic prints. Original gilt-decorated green cloth, Compendium of historical, cultural, social and medical commentary on virginity and defloration, with chapters on anatomy, demi-vierges, infibulation, defloration technqiues. This volume in the "Legitimate Erotica" series includes a Photo Album "from the Estate of a Defloration Fetishist Who Committed Suicide," with six mounted plates of suggestively posed nudes. Ref.: Book of nudes by Bertolotti page 116-117. Ref.: Heidtmann, Wie das Photo ins Buch kam

Price Upon Request

Paula Hayes
Lucid Green, 2013
5391-BK

Book with 100 pages, printed on 80lb Mohawk Superfine on an HP Indigo; Text by the artist, typeset in Fedra Mono Smythe sewn signatures, with hand cut neoprene wrap Housed in a sage clothbound clamshell case.
Printed and bound at Conveyor Studio, NJ.
Limited Edition of 45 with 12 AP.
Signed, numbered, dated Arabic numbered exemplars. Published by Carolina Nitsch, New York

Price Upon Request

Ludwig von Heufler
Eine Probe de kryptogamischen Flora des Arpaschthales in den sieben bürgischen Karpaten., 1853
476

Extremely rare work with seven plates, containing 44 figures of algae, lichens and mosses, nature printed and coloured. this book is refernced in Fischer as the first work with Auers' Nature Printing Process. Ludwig Ritter von Heufler (1817-1885) collected the present species during a scientific journey to the Arpasch valley in the Carpathian Mountains. Fischer No. 73

Price Upon Request

Jenny Holzer
EATING THROUGH LIVING, 1981
3499-BK

Tanam Press, New York, NY. 1981. Artists' book. Black and white. Cloth hard covers. Stitch bound. The book has two sections: thematically varied, all- capitalized text blurbs imitating instruction / information manuals, textbooks and advertisements bracket a normally punctuated, rambling meditation on behavioral psychology. Drawn illustrations. Numbered 19/75 and signed by both artists in pen on half-title page. Very good condition. 8.25 x 5.5". Unpaginated.

Price Upon Request

Thomas Hopkirk
Flora Anomoia. A General View of the Anomalies in the Vegitable Kindom., 1817
483

Engraved title, 11 plates, 1 folding and NATURE PRINTED by James Hardie. Rare first edition of the first british book illustrated by NATURE PRINTING. Provenance: Arpad Plesch sold lot 364 1975. Pritzel 4247 Stafleu 3031

Price Upon Request

Eikon Hosoe
Maquette for Embrace, 1971
10803-BK

Unique. Tall quarto. This original maquette, with dedication to Tatsumi Hijikata, of "Embrace" by Eikoh Hosoe with 84 silver gelatin prints on agfa gevaert lightweight proofing paper. The maquette follows the exact trajectory of the finished book. The first 11 pages of bibliographical information are painstakingly recorded in Hosoe's hand, and several loose signatures from the book are also included with ten pages that might have been preproduction examples of the book's extraordinary charcoal gravure printing; another six pages of the Japanese text from the book are loosely laid in, two of which are heavily amended in red pencil, presumably by Hosoe. A fascinating look into the design process of an exceptionally conceived photobook. One small nick to the edge of the front board, some signs of overall handling expected from a working model, overall, near fine with Japanese title and author information printed and pasted on the boards, additional ephemera near fine.



Provenance: Nathan Lyons

Price Upon Request

Yokusai Iinuma
Shintei Somoku Zusetsu [Illustrated Book of Plants, Revised], 1875
2213

Revised by Tanaka Yoshio & Ono Shokui. Ogaki: Hirabayashio. 20 volumes, large 8vo. Text in Japanese characters with foreword and occasional Latin translations in western script. 1 lithographic portrait of Iinuma. 1205 woodcut plates, many with small sections hand-coloured, each plate captioned in western script with the plant's name in Japanese followed by the botanical binomial and the family to which the plant belongs, all in western type. Bound in the traditional concertina-form between original limp yellow patterned boards, paper title slip on each volume, all contained within five dark blue cloth chemises with toggle catches. Early edition of the "most remarkable [work] ... that Japan had produced in the field of botany' (Franchet & Savatier), with plates that are "artistic and accurate ... [and] striking" (Bartlett & Sohara). "Iinuma was a pupil of Ono Ranzan. he began his Somoku Zusetsu in 1832, and twenty volumes of it were published in 1856, containing descriptions of 1201 species of herbaceous plants ... a second edition was published in 1874 ... and this one contains Latin names in Roman letters. the illustrations are both artistic and accurate. Sometimes in addition to the drawing of the plants as a whole there are excellent enlarged details, nicely hand-colored ... Franchet and Savatier describe this work as the most remarkable that Japan had produced in the field of botany ... they say that von Siebold instructed Iinuma, and his work gives evidence of his acquaintance with European languages. The order of the work is Linnaean ... The second edition [was published in Tokyo in 1874, with the present edition appearing the following year. Both of these editions of this... remarkable flora [were] ... published with a preface in French and a lithographic portrait of the author. The editors were Tanaka and Odo Motoyoshi. The former tells us that they added the Latin names to the illustrations, as well as spelling out the Japanese names in Roman following the English pronunciation. They thanked Savatier, resident in Yokosuka, for verifying the scientific names. The figures are striking for the contrast between the upper and lower leaf surfaces, the former rendered in white on black and the latter black on white." (Bartlett & Shohara pp.65-66). Cf. H.H. Bartlett & Hide Shohara Japanese Botany (Los Angeles; 1961), #29 and pp. 65-67; cf. A. Franchet & L. Savatier Enumeratio Plantarum Japonia sponte crescentium [Paris:1875-1879); cf. David D. Frodin Guide to the Standard Floras of the World ... second edition (Cambridge University Press: 2001) p.775.

Price Upon Request

INVADER
L'INVASION DE PARIS, 2004
1109

This first invasion guide presents the 500 first space invaders in the most invaded city in the world: PARIS. Pictures, location maps, archive images, score, index... This artist has attached his mosiacs all over Paris and has documented them with maps and photos very nicley in this book which comes with a unique mosaic on the cover. Also a small drawing of an Invader with the edition number.

Price Upon Request

Yasuhiro Ishimoto
Chicago Chicago, 1969
2075

First edition of Ishimoto's survey of 1960s urban life in Chicago, with over 200 black-and-white photographic images. "At a time when most of the leading Japanese photographers were actively caught up in their country's volatile political situation, Ishimoto seems deliberately to have maintained his distance, declaring his independence with a body of work that was different in both style and approach?Chicago, Chicago confirms this singularity and the promise shown in his earlier Aruhi Arutokoro. The later book demonstrates a photographer influenced by both Japanese and American sources and adopting neither wholeheartedly? It is arguably more completely realized, thematically tighter than Aruhi Arutokoro? Its old-fashioned, humanist virtues are considerable. Like the earlier work, the book is split into sections, seven of them this time, revealing various aspects of Chicago and two major photographic preoccupations of Ishimoto at the time-the formal urban landscape and the street portrait" (Parr & Badger, 289). Contains a foreword by Harry Callahan, an introduction by Shuzo Takiguchi, and notes by Yusako Kamekura, all in English and Japanese. Without scarce bellyband, rarely found. Book about-fine, slipcase with some foxing and light restoration. A beautiful copy of a scarce book, in original slipcase

Price Upon Request

Yasuhiro Ishimoto
Someday Somewhere, 1958
2089

Yasuhiro Ishimoto (Japanese American, 1921- ) was born in San Francisco and raised Kochi City, Japan. In 1939, due to concerns of him being drafted he returned to the US where he studied agriculture at the University of California (1940-42). He moved to Chicago in 1944 and began to study architecture at Northwestern University in 1946 when he met photographer Harry Shigeta and took up photography seriously. Two years later Ishimoto transferred to the Institute of Design where he studied with Harry Callahan, Aaron Siskind, and Gordon Coster(1948-52). In 1961 he returned to Japan (Tokyo), where he has lived ever since. Ishimoto showed his devotion to his adopted city, Chicago, in his book, Chicago, Chicago (Bijutsu Shuppan-sha, 1969). This book is often regarded as Ishimoto's most personal statement - his bold use of contrast, the design of the frame, and the influence of his studies in architecture define his Chicago. Ishimoto has published many books and exhibited widely throughout Japan and the US. In 1999 he was the subject of a career retrospective at the Art Institute of Chicago.

Price Upon Request

Graciela Iturbide
FRANCOLIN, 2009
3902-BK

9 x 11 3/4 x 1 1/8 in. (23 x 30 x 3 cm)

VOL. 15 Graciela Iturbide photographs- 4 signed platinum prints Abdourahman A. Waberi text Ryuji Mitani case- Japanese walnut hollowed out with a chisel by Mitani himself Edition of 30 copies Graciela Iturbide’s self-portraits have given rise to a story all about controlled violence. Waberi has summoned up the life of a frustrated rioter in an imaginary country, a wreck, cut off from Western society who sees himself as part of the animal species. Francolin finds relief for “his rheumatism with concoctions based on whitewash and ostrich eggs”. The story is divided into segments, each one taking up one of the four sections of the book which get smaller as the story unfolds.

Price Upon Request

Rein Jansma
Stairs
2048

First published in the early 1980s to great acclaim, This unique interactive book surpasses all language barriers, enriching the traditional pop-up book format with fresh, timeless imagery. Its emphasis on visual detail and its absence of text makes it a source of simple pleasure and serenity. The book contains 10 pop-up stairs, each with its own uniquely complex construction. Stairs is an intricately designed and compelling object.

Price Upon Request

Kenji Kanesaka
Underground Generation, 1968
1748

11 1/8 x 8 5/8 in. (28.4 x 22.1 cm)

Tokyo: Novel Shobo

100 black-and-white photographs printed in offset. Original foil card wrappers, with printed bellyband.



This early collective publication, focusing on the then emergent art scene in Japan, features work by many of those who became the key photographers of post-war Japan, including Daido Moriyama, Masahisa Fukase, Eikoh Hosoe, Jun Morinaga, and Kenji Ishiguro. Some of Kanesaka’s own photography is included, though his primary role was that of editor. His agenda was to create a visual pastiche of the underground scene, and the growing influence of the youth culture movement in Japan. The inspiration of Andy Warhol's Index (Book), which had been published the previous year, is evident in the book’s chaotic collaged layout, with images placed directly up against each other, or overlapping, or rotated. The fragmented visual styling of Underground Generation is also indicative of the influence of the book’s co-editor, Takuma Nakahira, who in the same year was to publish his seminal Provoke periodical.

[Ref. Ryuichi Kaneko & Ivan Vartanian, Japanese Photobooks of the 1960s and '70s, pp. 136-139]

Price Upon Request

Kanyosai
Kenshi Gaen, 1771
2285

Three Volumes. Tatebe was one of Kanyosai's names. There was an early issue of 1771 probably , in two volumes, then comes 1775 in three volumes, and possibly later still in four volumes. The example here is Mitchell's B, the 1775 issue in three volumes, all described on pages 358-9 of his book. Kanyosai and several other artists were responsible for this. One volume has very varied and powerful compositions of fish; the next has perhaps a more delicate collection of much technical interest also in that he is surely experimenting with the textured woodcut as explained to me by Jack Hillier. Several of these woodcuts have something like aquatint texture to give a kind of grain to the leaf branch. There are fine plant, bird and animal forms in this volume with mountain landscapes and a most sensitive scene of spring trees and a couple of horses beautifully drawn, one of them rolling in the field. The third volume is the most decorative, beginning with a color print of rock and sea and shore, continuing with many and varied landscape prints, most of them having pale grey sumi second color. In scenes of rock and waterfall this seems particularly apt. For its date or for anytime this must be reckoned a memorably successful work of art. Original embossed pale blue paper covers, title labels.

Price Upon Request

Anish Kapoor
Turning the World, 2005
3162-BK

15 x 11 1/2 x 1 1/4 in. (38.1 x 29.2 x 3.2 cm)

A world atlas is open to a two-page spread. A circle and a square shape are cut out of the left and right pages, respectively. Incrementally smaller shapes are cut out of each page behind the spread, creating two painted volumes into the depths of the entire atlas. The front, spine and back cover of the atlas is also painted. Each edition is boxed, signed and numbered.
Edition of 26 with 10 Artist proofs
Open book dimensions: 14 1⁄2 x 23 3⁄4 x 3⁄4 inches (37.6 x 59.2 x 2.7 cm) Slip case dimensions: 15 1⁄2 x 11 1⁄2 x 2 inches (39 x 29.2 x 5 cm) Published by Carolina Nitsch, New York, for the
New Museum of Contemporary Art

Price Upon Request

Anish Kapoor
Wound, 2005
3963-BK

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.

Price Upon Request

Kikuji Kawada
Nude Theater, 1984
1968

19 7/8 x 15 15/16 in. (50.5 x 40.5 cm)

Black leather portfolio containing 10 large silver gelatin photographs taken in 1981 on the artist’s trip through Europe, each one signed on the back. Kawada, known for his legendary book, "Chizu (The Map)", departs from his Provoke movement roots and photographs nude women in Old Master paintings. During this time Daido Moriyama and Keizo Kitajima were exhibiting their post-Provoke imagery using street photography and graphic imagery. Some 10+ years later Hiroshi Sugimoto took portraits of people in Old Master and Renaissance paintings, which may have been influenced by this project by Kawada.

Price Upon Request

Hon'ami Kōetsu
A Noh Play, 1610
2290

Printed at the Saga Bon where wooden moveable type was invented, a little later than the Gutenburg Bible in 1454. A very fine example of the triage-de-tete, using very variable colored papers and with mica-printed bamboo pattern on the covers; with original title label. These books were made with great care using the tetsuyōsō sewn-book binding technique to mimic the manuscript style. Saga books also used a highly decorative type of paper called karakami (唐紙, Chinese paper), which contributed to their unique beauty.

Price Upon Request

Stephan Köhler
Ein Gedicht fur ein buch, 1996
1489

A collaboration of the writer Yoko Tawada, the artist Stephan Köhler and the bookdesigner Clemens-Tobias Lange; This artists' book is a tautologic work, it is on reading, on artistic process. There are only a few words on pagefilling silver-gelatine printed sheets. The photographs by Köhler are painted on the translucent and crispy medium. Photoemulsion and letterpress on handmade japanese paper. Bound in natural colour ray-skin (Galuschat) by Thomas Zwang. Edition: 45 + XV e.a.

Price Upon Request

Anselm Kiefer
DIE DONAUQUELLE. [The Source of the Danube]., 1978
3498-BK

Artist's book. Black and white. Cloth hard covers. Stitch bound. Full-page black and white photographs of a brick-walled 'well' in a rubble-filled warehouse setting. Edition of 500 copies. Very good condition. 12 x 8.25". Unpaginated. Photography.

Price Upon Request

Martin Kippenberger
Rosemarie Trockel bei Peter(UNIQUE BOOK), 1989
6532-BK

5 3/16 x 3 11/16 in. (13.2 x 9.5 cm)

Each of the 80 Unique Books comprises 230 pages featuring one black and white photograph, the same image repeated on the right hand side of each double page. The books were then bound with paper covers of differing color, each bearing a specific title, in this case Rosemarie Trockel at Peter’s. Many of the images were taken in the 1980s and show scenes of

Kippenberger and/or friends of his. The books were then

inserted in a hollowed-out standard edition of the Swiss

Magazine Parkett no. 19. It was the first volume of the

magazine which included collaborations by two artists, Martin Kippenberger and Jeff Koons. Offset lithographs, paper bound. Signed, dated and numbered. Edition of 80 copies plus 20 A.P.

Copy 55 of 80.

Price Upon Request

Martin Kippenberger
Hotel Hotel, 1988
839

Unsigned and numbered; offset-printed Kippenberger"s classic artists" book of his Hotel Drawings. By far is best know, and possibly best artists" book. Reference: #109 in Uwe Koch.

Price Upon Request

Martin Kippenberger
MARTIN KIPPENBERGER: 241 BILDTITEL ZUM AUSLEIHEN, 1986
837

Pictorial Wrappers, 12mo, 45pp, 3 b&w illustrations + color cover. Text in German. This is a typically witty artist"s book (entry number forty-four in Uwe Koch"s "Annotated catalogue raisonné of the Books by Martin Kippenberger 1977 - 1997") in which Herr Kippenberger lists two hundred and forty-one painting titles suitable for use by "other" artists, most of whom likely would not have been half as clever as he. A pristine copy.

Price Upon Request

Martin/ Oehlen/Büttner Kippenberger
Malen ist Walen, 1989
1353

Book in yellow cloth box with matted drawings by Kippenberger, Oehlen, and Büttner.

Price Upon Request

Shinoyama Kishin
Sadistic play of Bondage., 1971
1934

A collection of bondage images, color and bw, with more humor than Araki, as evidenced by the color shots of tied-up Yakuza. The apotheosis in Japanese photobooks of bondage as theater. Little-known in the U.S., this book is every bit as good as Shinoyama's Hareta Hi. Included with this copy are two original vintage gelatin silver prints used for the publication. Near fine in wrappers in a near fine jacket.

Price Upon Request

Keizo Kitajima
New-York, 1982
1778

8 5/8 x 11 7/8 in. (22 x 30.2 cm)

Tokyo: Biyakuya-shobo.



140 full-page black-and-white photographic reproductions. Original cloth, with photo-illustrated dust jacket and printed bellyband.



Kitajima spent six months in New York, roaming its streets and hanging out in its clubs. In the resulting book, he presents a vision of the 1980s New York in the vein of photojournalist photographers Weegee (Arthur Fellig) or William Klein. Kitajima’s images document both the chaotic street-life and underbelly of early 1980s New York. The publication is full of stark juxtapositions, capturing both the city’s energy and decadence. Flamboyant displays of outrageous behavior in nightclubs are shown next to pictures of desolation and dejection in the East Village. In New York, Kitajima’s work expands from carefree candid portraiture of the clubs, to a sober photojournalistic depiction of the seedy street life of New York, photographing the desperate living conditions of the impoverished American in New York.

For this photo book Kitajima received the prestigious Kimura Ihei Award in 1983.

Price Upon Request

Keizo Kitajima
Shishin tokkyubin Okinawa (Photo mail from Okinawa). 1-4 [complete set]., 1980

1980

1980
1771

8 1/4 x 11 5/8 in. (21 x 29.6 cm)

Tokyo: Parole-sha, January-July

Totaling 131 black-and-white photographs. Black-and-white photo-illustrated stapled wrappers printed in either light pink, blue, dark pink or green.



Encouraged by the reception to his Tokyo work, in 1980 Kitajima began photographing in and around the red-light district of Koza, a city in Okinawa situated close to the Kadena U.S. Air Force base which had been situated on the island since the end of the World War II. The military presence had resulted in a pleasure and entertainment industry evolved to cater to the Americans stationed there, which offered a marked contrast to the local traditional Japanese culture. Kitajima intended to publish these photographs in a series of bi-monthly magazines called Photo Express Okinawa, though only these four issues were realized before financial restrictions forced him to stop, and give up plans for subsequent series in Taiwan, South Korea, Hawaii, and China. Each issue focuses on a specific period of time: Issue 1, 15 - 31 January; Issue 2, 1 - 31 March; Issue 3, 1 - 15 May; Issue 4, 1 - 15 July.



Unlike the Tokyo series, Kitajima’s photographs from Okinawa were never collected in book form. There are no surviving prints or negatives, and therefore subsequent publications have had to scan the photographs from the pages of these four issues of Photo Express Okinawa.

Price Upon Request

Keizo Kitajima
Shashin Tokkyubin Tokyo (Photomail from Tokyo), 1980
1770

7 1/4 x 10 1/8 in. (18.5 x 26 cm)

Tokyo: Paroru-sha.



113 photographs, including some reproduced in color. Folded poster bound in at front of the book, with text and illustrations printed on one side and a large, two-color reproduction on verso. Original wrappers, with photo-illustrated dust jacket and printed bellyband.



In 1979 Keizo Kitajima, a graduate of Daido Moriyama’s class at Workshop, the influential photography school founded by Shomei Tomatsu, held a series of monthly exhibitions at Image Shop Camp, a gallery and forum he established with other members of the Workshop group after it closed. Each of the twelve exhibitions was accompanied by a publication entitled Photo Express Tokyo. Shashin Tokkyubin Tokyo gathers together images from the Photo Express issues into one volume, interspersed with color work not included in the original series of magazines. The work captures Kitajima's night-time wanderings through the underbelly of Tokyo. His style of photography seemed to exemplify an “other-worldliness” that was in stark contrast to the decorum of daytime Tokyo. "The combination of black and white with color is interesting, because this is a difficult trick to pull off. The tension between Kitajima's flamboyant, contrasty, edgy monochrome and his matter-of-fact, understated color makes this one of the most distinctive books in the wide bibliography on Shinjuku nightlife." (Parr & Badger)

[Ref. Martin Parr & Gerry Badger, The Photobook: A History, vol.III]

Price Upon Request

Stephan Kohler
Ein Gedicht fur ein buch, 1996
1690

A collaboration of the writer Yoko Tawada, the artist Stephan Köhler and the bookdesigner Clemens-Tobias Lange; This artists' book is a tautologic work, it is on reading, on artistic process. There are only a few words on pagefilling silver-gelatine printed sheets. The photographs by Köhler are painted on the translucent and crispy medium. Photoemulsion and letterpress on handmade japanese paper. Bound in natural colour ray-skin (Galuschat) by Thomas Zwang. Edition: 45 + XV e.a.

Price Upon Request

Shiba Kokan
Gasu Sairtan, 1803
2288

10 5/8 x 6 7/8 in. (27 x 17.5 cm)

see chapter 36 in Hillier. Shiba Kokan was the outstandiing adventurous spirit in the period of discipline and restriction. He lived from 1738 to 1818 and had a fearlessly inquiring mind. As artist he was the pioneer of copper engraving in Japan, and much influenced by European printing. As a cartographer he produced Japan's first engraved map of the world, on two sheets [a copy of this exists at Culham]. As a scientist he was fascinated by Copernicus and explained his discoveries with text and woodcut. As traveler he disobeyed the rules and made long journeys of inquiry and investigation in Japan. On the present work in five volumes it is simplest to quote from David Chibbett, History of Japanese Printing and Illustration: 'His one major book was Seiyu ryodan, a collection of sketches from his travels, which he published, apparently at his own expense in five volumes in 1790. Revised and enlarged editions of this same work were subsequently published under the titles Gazu seiyu ryodan (1803) and Seiyu nikki (6 vols. 1815). All three works were substantially the same with interesting studies not only of Japanese landscapes (where the use of Western perspective is noticeable) but also various activities of the Dutch, with special emphasis on Dutch sea vessels and whale-hunting'. Here is a fine copy of the 1803 publication, the 'western journey' of Shiba Kokan - his long trek through Japan to Nagasaki. It is an account of his travels with many woodcut illustrations. In the third volume his adventures include the sharing of a whaling expedition, shown in some detail in the woodcuts. We see the shape of the harpoons as well as the closing-in of the small boats, the exceedingly dangerous operation, the beached whale, the carving-up of his carcass, the lugging-away and processing in a factory of the chunks of whale for making oil. Volume four is mostly topographical but also shows a few games, dances and the festival procession with carnival floats in the street. In the last volume we reach the author's climax in the recording of Dutch armament, shipping and merchant life at Nagasaki, and a panoramic view of the enclosed Dutch settlement. We see the strange dress of these western visitors, and an often-reproduced double-page woodcut of the merchant's house with his Dutch chairs and his paintings and chandelier; and a Dutch tombstone in the final pages. This was all heady stuff at the time, forbidden, secret and adventurous. Original blue covers and title labels.

Price Upon Request

Mitani Koki
Kaitai Hatsumo (A New Work of Anatomy), 1813
1950

5 volumes, 8o 26 color illustrations (10 double-page), line illustrations. Contemporary patterned wrappers; blue folding case with bone fasteners. Provenance: Jean Blondelet (sold Tajan, Paris, 23 October 2001, lot 23). FIRST EDITION OF THE FIRST COMPREHENSIVE JAPANESE ANATOMY, based upon original observation and dissection, and the first to be extensively illustrated in color. The author undertook the dissection of a condemned prisoner in 1802, but did not publish until 11 years later. Most probably the book circulated in manuscript before it was printed since the author's preface is dated 1806, and other prefaces by Mitani's colleagues are dated 1809 and 1810. Even though the Kaitai Shinsho had been published thirty-nine years earlier, many Japanese still clung to the ancient traditional medical information that had been passed down for 3000 years, and one of the motivations of Mitani Koki in writing this book was to demonstrate the superiority the new Western understanding of anatomy and physiology over the ancient traditions. The work includes a total of 23 very well executed woodcuts drawn from life during the dissection. These reflect a considerable advance in detail from woodcuts in prior Japanese anatomies in the Edell collection. The last volume is an appendix written by Konsei Minamoto, one of Mitani Koki's pupils. Mestler, "A Galaxy of Old Japanese Medical Books I", Bull Med Lib Assoc XLII (1954) pp. 316-17 (5)

Price Upon Request

Jiri Kolar
Manuscript (Artist Book), 1963
7773-BK

11 5/8 x 8 1/4 in. (29.7 x 21 cm)

30 a4 pages with cut out and ripped pages made with a typ writer. Signed on front cover page and dated 1963.

Provenance: Pierre Restany

Price Upon Request

Harmony Korine
Trash Humpers, 2010
6453-BK

8 1/16 x 11 in. (20.5 x 28 cm)

Zürich: JRP Ringler

First edition. This book is based on the photographic research for Korine’s 2009 film directorial project of the same title. Released on lo-fi VHS and edited in part while blindfolded—or so Korine attests—the 78-minute movie follows a gang of miscreants who roam the streets of Nashville, molesting garbage bins and causing random mayhem. Includes a collection of stills, source material images, and painting reproductions, alongside Korine’s sparsely written text. 128 pages of 48 color and 30 b/w images.

Deluxe edition, with unique original hand painted cover.

Price Upon Request

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.

Price Upon Request

Jannis Kounellis
Alfabeto, 1966
11403-BK

5 1/2 x 5 1/2 in. (14 x 14 cm)

Printed in an edition of 1000 copies. Rome. Galleria Arco D'Alibert.
The “Alfabeto” series of works on paper and canvas were begun ca. 1958 while Kounellis was still a student in Rome. Using black tempera, ink, enamel or acrylic paint on a white ground of paper, cardboard or canvas—either singly or combined—they feature black stencilled numbers, letters, mathematical symbols, and arrows. The first exhibition of these works, described later by Kounellis as “a hermetic rhythmic writing in space” was titled L'alfabeto di Kounellis, and was held at Galleria La Tartaruga, the first gallery for contemporary art established in Rome. This was followed by two further shows in 1964 and 1966, and a third also in 1966 at Galleria Arco D’Alibert. It was in conjunction with this final “Alfabeto” show that this small artist’s book was produced. The printed cryptic symbols and letters are suggestive of a language, code or mathematical formula but now resist any particular meaning or representation. Kounellis’ figures are merely compositional signs, somewhere between image, language, and arithmetic.
Reference: Maffei - Arte Povera. books and documents, p. 88.

Price Upon Request

Eric Kroll
Sex Objects: An American Photodocumentary, 1977
1345

First Edition, Near Fine and unread in wrappers (softcover), uncommon thus. A bright copy of this seminal photo book of nude modeling studios in the USA inthe 70's. *signed by artist

Price Upon Request

Barbara Kruger
Untitled (match book set), 1984
3220-BK

Set of black & white matchbooks. This set of matchbooks includes the following texts: "Your manias become science" and "You are an experiment in terror"

Price Upon Request

Seiji Kurata
Flash Up. Street PhotoRandom Tokyo 1975 -1979., 1980
1773

8 1/4 x 11 5/8 in. (21.1 x 29.6 cm)

Tokyo: Byakuyashobo.



199 black-and-white photographic illustrations. Text by Takashi Ueno, Kazuo Nishi and Akira Hasegawa. Design by Akira Suei. Original wrappers with photo-illustrated dust jacket, clear acetate outer jacket, and printed bellyband. With the famous cover picture of a Yakuza, heavily tattooed and brandishing a samurai, on a Shinjuku rooftop.



Flash Up by Seiji Kurata is a photographic excursion into the seedy parts of 1970s Tokyo nightlife. Kurata, who began his photographing career doing workshops with Daido Moriyama and Araki Nobuyoshi, traveled through the nightclub scene of Ikebukuro and Shinjuku, photographing the tattooed yakuza underworld and violent street fights, and directly contrasting car crash victims with portraits of nightclub hostesses and ultra-right wingers of the Black Dragon Society. With this book Kurata earned the Kimura Ihei Award recognizing new photographers in 1980. Unlike the more expressionistic styles of his Provoke teachers, Kurata’s medium-format photos carry a journalistic clarity, and do so without sacrificing any energy or sense of immediacy.

Price Upon Request

Ugo la Pietra
AD OGNUNO LA PROPRIA REALTA"To each his own Reality", 1972-74
4380-BK

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.

Price Upon Request

Le Corbusier
Aircraft, 1935
3484-BK

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

Price Upon Request

Le Corbusier
Vers Une Architecture, 1928
351

HIs first book which changed the way people thought of Archtecture! '"There is a new spirit: it is a spirit of construction and sythesis guided by a clear conception." First edition was 1924 and this is the third edition.

Price Upon Request

Les Levine
House, 1971
4375-BK

Square 4to.; unpaginated; illustrated throughout in b+w; tan wrappers printed in black; included with 24 b+w photographs originally used in production of the book. Each photo is 6 x 9 ½ inches, each individually mounted to thick board; housed in custom cloth box. Fine. First edition. Les Levine’s House is a tongue-in-cheek sendup of Minimalist/Conceptualist art practice in which Levine designates a series of photos of a collapsed house as a “working plan for a sculpture or monument.” Anyone choosing to undertake the project is instructed to work “according to the scale of the space he finds available” and to send photos of the finished work to Levine. Published by Hilversum: Steendrukkerij de Jong & Co., 1971.

Price Upon Request

Sol Lewitt
Autobiography, 1980
829

126 Pages. No text. All 2 1/2 inch by 2 1/2 inch black & white photos. The only text is on front inside sleeve of jacket. CLIP-This fascinating black and white photographic catalogue of every object in the artist's living and working space in New York City, begins with a general description of the space, floor, ceiling, pipes and plumbing. AUTOBIOGRAPHY, a highly unusual pictorial presentation, describes LeWitt's work space, tools, cabinets for storage, furniture, books, appliances, clocks, records and tapes, pieces of art and family photographs. The book moves sequentially from the general to the specific, building up a very personal and revealing account of the artist and his involvements. It provides interesting clues to LeWitt, what he thinks, what he does and how he lives. Each of the nine photographs on every page is arranged in a grid format, LeWitt's method of organizing information. Every reference is the same size with no object in his space more important than another. Sol LeWitt, born in Hartford, Connecticut in 1928, is a major contemporary artist who is recognized as a leading figure in the conceptual art movement. Photography is only one of the many mediums he uses to express himself. He is also well-known for his ink and wall drawings, structures and prints. He has exhibited extensively since 1965 and his work is included in the collections of almost every major museum in the United States and Europe. Among his many published works are his three most recent books: COLOR GRIDS, SUNRISE AND SUNSET AT PRIANO, and COCKFIGHT DANCE.

Price Upon Request

Sol Lewitt
Crownpoint, 1980
1956

11 x 11 in. (27.9 x 27.9 cm)

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.

Price Upon Request

Sol Lewitt
Brick Walls, 1975
3964-BK

Artist book of photographs of brick walls with full bleed

Price Upon Request

Roy Lichtenstein
La Nouvelle Chute de L' Amerique, 1992
6883-BK

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.

Price Upon Request

Dieter Roth Life Line
a Look into the blue tide, 1967
1828

8 1/2 x 5 1/2 in. (21.5 x 14 cm)

Softcover bound in printed orange paper wraps titled in black on the front cover. 16 pages, including the covers, with visual and illustrated text by Diter Rot. Near fine. First edition. This little book printed by Dick Higgins at the Something Else Press is a "sampling from the continuation of die blaue flut ("the blue tide"). DR. CW. 20 # 32. 16 pages offset, stapled. Published by something else-press new york. Series 'great bear pamphlets'. Reproduction of some pages from the manuscript. 'a look into the blue ti·de'

Price Upon Request

Dieter Roth Life Line
Die Blaue Flut. "The blue tide", 1967
3850-BK

6 1/4 x 4 3/4 in. (16 x 12 cm)

224 pages letterpress linotypesetting using speciaI font. adhesive binding softback. Printed by Hj. Mayer Stuttgart. Published by edition Hansjorg Mayer Stuttgart. 500 numbered copies. Approx 50 authors copies. Parts of the 1966 diary typographic version.This copy is inscribed to Rafn in 67. Edition number 433/500. DR. CW. 20 # 27. collection Rafn Hafnfjord

Price Upon Request

Richard Long
Dust, Doboros, Desert Flowers, 1987
1663

Hardcover, paper, includes a 45 RPM record mounted inside back cover, all inserted inside linen covered slipcase (color repros). The pigments used for the etchings in this book were gathered by the editor and the artist in Death Valley in the spring of 1982. The archive has another coy of this record.

Price Upon Request

Richard Long
River Avon Book, 1979
7361-BK

6 3/8 x 6 in. (16.3 x 15.2 cm)

Mud on handmade paper. Hard cover. Stitch bound. Hard slipcase. Text on slipcase is hand-written. Edition of 120 copies, only 106 produced. Unpaginated; 34 pages. This book is based around the River Avon in Bristol, Richard Long's home town. Long dipped hand-made paper into the source of the River Avon and then left the pages to dry with muddy watermarks. Reference: p. 237 RICHARD LONG. R.H. FUCHS. Solomon R. Guggenheim Museum, New York, NY / Thames and Hudson, London, UK. 1986.

Price Upon Request

Jorge Macchi
SOLO EN UNA CIUDAD DONDE NO CONOCE A NADIE [ALONE IN A CITY WHERE HE DOESN’T KNOW ANYONE], 2011
4003-BK

VOL. 21 Jorge Macchi photographs Alan Pauls text Sam Hecht case Jorge Macchi’s poetry lies in his affirmation of the ephemeral, in his close attention to minute incidents, to everyday coincidences in life. The five photographs presented in this book bear the imprint of a certain melancholy linked to the idea of “slow deterioration” or “disappearance,” illustrated in four of the photographs as the tussle between a street number and the bark of a tree. Absence and degradation are also central themes in the story written by Alan Pauls. His main character is a solitary wanderer who ineluctably goes mad, his only recourse being to tell lies in a sort of self-inflicted simulation of amnesia. Jorge Macchi Jorge Macchi was born in Buenos Aires in 1963. He is one of the great figures of contemporary art in Argentina. His works austere and precise impress with their logic and clarity. His work, qualified as neo-conceptual, is a poetics of everyday life, which gives pride to the concepts of random, decontextualized, minimum displacement. Alan Pauls Alan Pauls was born in Buenos Aires in 1959. He was a professor of literary theory, writer, translator, film critic. He has published four novels and several essays, whose the best known: The Factor Borges. His novel The Past won the 2003 Prix Herralde. He also received the Roger Caillois Award attributed in 2007 by the House of Latin America for The Factor Borges. In an article published in 2003 in El Pais, after the publication of his novel The Past, Roberto Bolano sent him these words: «You are one of the best Latin American writers living and we are very little in enjoy and realizing it.» Description: 6 original signed photographs (Lambda Prints), Case made of Corian 31,4 x 41,2 x 6,5 cm Text in Spanish and English Limited edition of 20 copies + 5 H.C September 2011 Graphic design: Olivier Andreotti

Price Upon Request

Makka
KOMPRESSION, Nov-06
1434

Silkscreen book with blue and white print on 16 pages. Loose original drawing in pencil signed and dated 'Makka 06'.

Price Upon Request

Piero Manzoni
Piero Manzoni: Life and Work, 1969
904

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.

Price Upon Request

Wendy Mark
89 Clouds, 1999
791

Hardcover An as-new copy without printed dust jacket as issued, one of only 20 copies specially bound with an original signed monotype by Wendy Mark laid into a pocket at the back of the book, which is also signed by Strand and Mark. A lovely book with text by Mark Strand and reproductions of monotypes by Wendy Mark. by both Mark Strand and Wendy Mark. Text by Strand is complemented by reproductions of monotypes by Mark.

Price Upon Request

Kitao (Keisai) Masayoshi
Sansui Ryakuga-Shiki, 1800
2281

10 5/8 x 7 5/8 in. (27 x 19.5 cm)

see chapter #34. This is a confusing matter beacuse Masayoshi was really Keisai listed above as artist of the Keisai Sogan. Kuwagata Keisai lived from 1764 to 1824,He changed his name at the end of the eighteenth century when he shifted from Ukioye style to quite different styles. He is the man who retired and became a lay monk and lived in Edo. This is a superb book whatever its simple purpose. The color woodblock printing is wonderful, the subjects smallish and often several to a page. The delicate fading-away of colors is characteristic of it; so is the texture which may very well be achieved by the dust method, and another noticeable point of style is the frequency with which form is given as a brush stroke apparently, without clear outline. Thus it is technically a wonderful work and a very faithful reproduction in woodcut of brush drawing - and a considerable pleasure to look at. In the second half of the book we have large subjects spreading over double pages, a whole succession of them, of great success and visual excellence; especially one could mention the view across a bay with a rising or setting sun slightly hidden by streaks of mist, and coastal villages in the foreground with a temple and mountains to the left. These are wonderful inventions and the coloring perhaps unequalled in these books for its quiet shading and attention to texture. Though Hilier has little to say about Keisai or Masayoshi surprisingly, there is a very relevant paragraph on page 113 where he especially mentions another of his books from 1801 but with reference particularly to the various methods for producing a kind of half tone or gradation of tone on the blocks and what he calls 'a granulation of the ink tone when printed'. Both qualities are certainly present in the Sansui Ryakuga-Shiki. Mitchell, page 460-1.

Price Upon Request

Henri Matisse
Cahiers d'Art, nos. 3-5, edition deluxe, 1936
4495-PR

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

Price Upon Request

Gordon Matta-Clark
Splitting, 1974
1683

Staple bound artist book, 32 pages and one fold out page at end, photos of a house on Long Island, split down the center. "Splitting" is remembered primarily through photographs Matta-Clark took of the finished work and reproduced in a small book. In addition, the excised corners of the building have been saved, serving as positive relics of the work's negative space. These images and souvenirs, as Matta-Clark called them, are the constituents of an exhibition called "Splitting" at the Holly Solomon Gallery.

Price Upon Request

Gordon Matta-Clark
Walls paper, 1973
1676

160 horizontally split pages with colored reproductions of wall papers found in demolished houses. Illustrated wrappers. This well known book, "inevitably made artist's books, and this, one of his best known, is a 'documentary' work that is a close adjunct to some of his actual sculptures," according to Parr and Badger.

Price Upon Request

Christian Megert
Glasbuch (Glass book), 1972
5892-BK

16 1/2 x 11 3/4 in. (42 x 30 cm)

Four thick mirrored glass panes serve as ‘pages’ of the book. The exterior cover of the book is toned in black, with the title screenprinted in white on front cover. Bound with black tape spine. Published in a proposed edition of 100 copies, signed by Megert in silver marker pen on the front cover.

Mirror works comprise the fundamental pictorial element in Christian Megert’s oeuvre since the late 1950s. Megert uses mirrors as reflectors of light and movement in the manner of Zero art; they dissect space and give way to monochrome worlds of colour. In the Glasbuch, with its pages composed of mirrored glass, Megert even goes a step further: he mirrors the mirrors in his compositions, thus enclosing the viewer in the reflecting mirrors and releasing him into a seemingly infinite space. In this way, Megert creates countless multiplying possibilities of new pictorial spaces and realities, without beginning and end - a theory the artist first posited in his manifest 'Ein neuer Raum' (1961), which proclaimed a passable room without borders made possible through the mirror.

Price Upon Request

Mei You Yun
Without Clouds, 2007
2095

Without Clouds. Clemens-Tobias Lange, 2007. No. 15 of 30. Without clouds was planned as a vloud book but is without them. The text ends even before the book begins. It is a brief excerpt from the 2300-year-old Li Sao (ó£Èz) by the Chinese poet Qu Yuan (ã¸å¥). The rest is emptiness or simply that what it is, a journey whose course is not to be changed, a journey to be contemplated. Bilingual, in Classic Chinese and German in the translation of Andrea Seltmann. 52 pages, including 14 rainbow-print coloured sheets, as well as 4 prints based on photographs and one intaglio photogravure by CTL. Comes in elegant slipcase manufactured by Alexander Blomberg in acrylglass.

Price Upon Request

Erich Mendelsohn
Amerika, 1929
1591

This book is not inscribed.

Price Upon Request

Mario Merz
Fibonacci 1202 Mario Merz Sperone, 1970
10183-BK

6 3/8 x 3 7/8 in. (16.5 x 10 cm)

Paperback
Torino : Sperone Editore, 1970.
Merz was fascinated by the progressive number series named after the thirteenth century Italian mathematician Fibonacci. The development of a spiral, the natural organization of the elements in nature, is overseen in the growth of a tree. Merz uses the numeric sequence (the number is always the sum of the two previous ones) to organize the development of his figurative speech on the book page. Unspecified edition size.

Price Upon Request

Beatriz Milhazes
Meu Bem, 2008
11621-BK

14 1/4 x 11 3/4 x 1 1/2 in. (36.5 x 30 x 4 cm)

Meu Bem, which translates to “My Darling” from Portuguese, consists of 30 pages plus covers, each created by hand, using various complex print techniques including giclée, screen printing, foil blocking, and die-cutting, with detailed collage throughout. The book is hand sewn and in a case bound in a hard cover housed in a clear yellow acrylic box. For each book, Brazilian artist Milhazes has made an original, separate collage. Published by Ridinghouse. Edition of 38 copies.

Price Upon Request

Beatriz Milhazes
Coisa Linda, 2002
1413

Deluxe artist book with 34 hand printed screen prints, some on mylar, and a unique collage, with lyrics from brazilian songs, in linen slipcase

Price Upon Request

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

Price Upon Request

Miller & Shellabarger
Butter Book, 2007 (Challenge), 2008
2321

butter wrappers (various brands), butter boxes (various brands), linen cord, linen tape, book board, rice paper, satin ribbon, and a bone clasp

Price Upon Request

Miller & Shellabarger
Butter Book, 2006 (Jewel), 2007
2322

butter wrappers (various brands), butter boxes (various brands), linen cord, linen tape, book board, rice paper, satin ribbon, and a bone clasp

Price Upon Request

Sharon Miriam
Earth Works and Desert Projects 1973 - 1976

The Bedouins are the real artists of life; a folk without architects, without physicians, engineers. They are the architects of themselves…
Back to the primal game of the child with sand , 1973-76
11443-BK

14 x 8 in. (35.6 x 21.6 cm)

Miriam Sharon’s ring-bound photocopy book, Earth Works and Desert Projects 1973–1976—both a catalogue issued in connection with her exhibition Pulpitation at the Municipal Museum ''Bet-Emanuel'', Ramat Gan in 1975 and, per the artist’s statement, an “artwork in itself”—guides readers through “the flow of circumstances” that propel her Earth Works as they emerge from a period of rich and esoteric experimentation during which time the artist used desert spaces as sites for production, developing participatory, ritual-oriented work while living amongst Bedouin tribes. This first edition of Earth Works and Desert Projects 1973–1976 was issued in November, 1976, as one of ten copies, within a total edition of one hundred. Only a few copies are known, therefore it is difficult to say if this is one of ten or one of a hundred copies. In either case, it is rare.

Price Upon Request

Joan Miro
Ubu Roi, 1966
180

16 1/2 x 12 5/8 in. (42 x 32.3 cm)

Contains 13 original lithographs in color by Miro. Folio. loose as issued in publisher's portfolio. Book signed by Miro.

Price Upon Request

Amedeo Modigliani
Les nymphes, 1921
5122-BK

8 1/16 x 5 1/2 in. (20.5 x 14 cm)

Author: Roger Frene. Publisher Ronald Davis and Co, Paris. Copy n 46 of 130 on Ancient Japon Paper. With 5 reproductions of nude line drawings by the Artist. *First Artist Book.

Price Upon Request

Jonathan Monk
None of the Buildings on Sunset Strip, 2002
1437

book with signed original photograph

Price Upon Request

Henry Moore
Promethee, 1950
4231-BK

16 1/8 x 12 1/4 in. (41 x 31 cm)

Number 142 of 183 on 'Velin'. First edition of Gide·, translation and Moore’s illustrations. One of an edition of 183 copy of which this is n142 of 165 on ·velin'. Eight full-page colour lithographs and other coloured illustrations in the text. Unbound. as issued in brown paper wrappers, uncut, enclosed in a decorative paper box. The design on wrappers and box are also by Moore. The book was chosen as one of the exhibits in the recent 'Printing and the Mind of Man' exhibition. It is one of the most distinguished examples of printing from the Imprirnerie Nationale of a series which began in 1900 with Verlaine's Parellelement. The illustrations are one of the rare excursions into Book-illustration by the sculptor, Henry Moore.

Price Upon Request

Francois Morellet
90° 90 Trames, 1970
3871-BK

20x20 cm square book with offset printed lines

Price Upon Request

Daido Moriyama
SOLITUDE DE L'OEIL, 2007
1835

VOL. 6 Daido Moriyama photographs Michel Bulteau text Olivier Andreotti case The six poems by Michel Bulteau are infused with the rumblings of Tokyo, poems that speak equally of its derelict side as its luster. The poet lines up specific details, fishing out odd fragments from Daido Moriyama’s photographs as he pulls us into his spectral universe, crawling with gangsters and clawed animals. Bathed in a melancholic light, the photographs share characteristics with the color work of the artist and describe a sensual and sorrowful Tokyo. The traycase takes its inspiration from the steep slopes that crown most buildings in Tokyo and its choice of material–painted plastic recalls contemporary Japanese architecture. The text follows the line drawing of a confused network of electric cables, evoking the complex urban tissue of the Japanese capital. Daido Moriyama A major figure in contemporary Japanese photography, Daido Moriyama is one of the founders of the selfcalled, avantgarde movement, « Provoke”, that came to life in the 1960s. He is at the core of what emerged as a new visual language, both nervous and frantic, that delighted in the out-of-focus, the grainy and deformity in general. He has had work exhibited in one-man shows worldwide most notably at the Metropolitan Museum (NY), the San Francisco MOMA and at the Cartier Foundation for Contemporary Art in Paris. Michel Bulteau Michel Bulteau was 21 years old when he published Le Manifeste électrique (the Electric Manifesto). In 1972 he had the decisive encounter of meeting William Burroughs and Brion Gysin in London. He settled in New York in 1976 where he soon became part of the punk movement, joining the circle around Warhol and the Beat writers. His memories of New York infuse his book, New York est une fête, brought out by the French publishers, La Différence. After returning to Paris a certain dandyism and fin-de-siècle aesthetic, which has always hovered in the background, finds its full expression in a number of books: Minuties (La Différence, 1989), L’exilé de Venise, essai sur Corvo (Le Rocher, 1990), Le club des longues moustaches (Quai Voltaire, 1988). Description: Tokyo Triptych 1/3 6 original signed photographs (chromogenic prints), mounted on cardboard Case made of painted plastic 51,7 x 42,5 x 5,2 cm Text in French and Japanese Limited edition of 40 copies May 2006 Graphic design: Olivier Andreotti

Price Upon Request

Daido Moriyama
Photographer Mr. Araki, (Photogram), 1990
2097

9 1/4 x 11 1/4 in. (23.5 x 28.5 cm)

Pictured in Book Lettre A St. Loup. Vintage Black and White print

Price Upon Request

Daido Moriyama
Kagerou (Mayfly), 1972
1758

7 3/8 x 10 5/8 in. (19 x 27 cm)

Tokyo: Haga Books.



114 photographic reproductions, of which fourteen are tipped-in color plates. Original stiff wrappers, with paper-covered slipcase and printed bellyband. This copy inscribed by Daido Moriyama in black pen (in both English and Kanji)



The publication is exceptional amongst Moriyama's output as much for his seminal use of color, as for the book's eroticism. Moriyama's fourth book features nudes, the majority being bondage scenes. Having taken its title from the Japanese word for “mayfly”, the series captures fleeting and momentary scenes of females bound in Kinbaku (rope bondage). While similar in theme to much of Araki's work, the figures in these photos are removed from their context of the red-light districts of Tokyo, and Moriyama now sets the women against outdoor landscapes and leafy backgrounds. Raw and unchoreographed in their manner, the images relay a disquieting sense of anticipation throughout each scene. The images are somewhat grounded by a section in the center of the book that reproduces contact sheets showing images from the shoots.

Price Upon Request

Daido Moriyama
Shashin yo Sayonara (Bye Bye Photography), 1972
1760

7 1/4 x 9 in. (18.5 x 23 cm)

Tokyo: Shashin Hyoron-sha.



137 double-page black-and-white photographs printed in rich gravure. Original wrappers, with printed dust jacket. Includes 32 pages of dialogue between photographers Takuma Nakahira and Daido Moriyama.



This is the most emblematic of Provoke photobooks, in which the aesthetic principles of the movement are best expressed. Moriyama pushes the boundaries of the medium: assembling images from a variety of sources, placing them in a discordant anti-sequence, with an array of full-page grainy, blurry, and sometimes indecipherable pictures. The images were further manipulated in the dark room, in a way that results in high contrast prints with a harsh coarse grain. This rough style became somewhat of a trademark and found wide appeal with a new Japanese generation.

Shashin yo Sayonara was produced as a result of a discussion Moriyama had with Takuma Nakahira in the Hilltop (Yamanoue) Hotel in Tokyo in August 1972. The two had been friends since 1964 and both had contributed to Provoke magazine. The argument centered on the function of photography to reflect reality.

“Shashin yo Sayonara (Bye Bye Photography) is the most extreme monument of the Provoke period, indeed it is one of the most extreme photobooks ever published. Daido Moriyama pushes both the form of the photographic sequence and the photograph itself to the limits of legibility, with a brilliant barrage of stream-of-consciousness imagery culled from his own pictures, found photographs—such as shots of car accidents—and images taken from the television set. Any notion of ‘good’ technique is thrown out the window. The pictures exhibit all the qualities of reject negatives discarded in the darkroom then retrieved from the bin. The photographic language is one of blur, motion, scratches, light leaks, dust, graininess and stains ... The pace is frenetic, the image bombardment never lets up, and we reach the book's end in a state either of breathless exhaustion or on an image-fuelled high.” (Parr & Badger)



[Ref. Martin Parr & Gerry Badger, The Photobook: A History, vol.I, pp. 298-299; Andrew Roth, The Book of 101 Books: Seminal Photographic Books of the Twentieth Century, pp. 218-220; Andrew Roth, The Open Book: A History of the Photographic Book from 1878 to the Present, pp. 290-291; M. Auer, 802 photo books from the M. + M. Auer collection, p. 543; Ryuichi Kaneko & Ivan Vartanian - Japanese Photobooks of the 1960s and ‘70s, p. 29]

Price Upon Request

Daido Moriyama
On the Road, 1969
1783

Newpaper book with Silver Gelatin Print

Price Upon Request

Daido Moriyama
Provoke 2, 1969
7191-BK

10 x 712 in. (25.4 x 1.5 cm)

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.

Price Upon Request

Daido Moriyama
Nippon Gekijo Shashincho (Japan - A Photo Theatre), 1968
1749

8 1/4 x 8 5/8 in. (21 x 22 cm)

Tokyo: Muromachi-Shobo

145 black-and-white photographs printed in offset. Text by Shuji Terayama. Original green velvet wrappers, with printed cardboard slipcase. This copy inscribed by Daido Moriyama in black felt-tip pen on the front free endpaper (in English and Kanji).



Moriyama's first printed work is a milestone of Japanese photography. It was published the year after he had received the New Artist Award from the Japan Photo Critics Association for his series of images of street performers published in the monthly photography magazine Camera Mainichi. The book contains these images, mixed with street scenes and other pictures, seemingly chosen at random. The book is divided into two sections, each with introductory poems by Shuji Terayama. In the photographs, Moriyama has laid the defining cornerstone for his work that was to come in the 1970s. He is already experimenting here with the technique of “are-buro-buke”, with its hard angles, and with photographs of photographs.

“He sought the world of the hipster, the freak, the “other”, from the avant-garde Terayama theatre group, which featured nude women, dwarfs, and burlesque characters of all kinds, to the more vernacular nightlife of the city, the strip joints, gangster bars, and backstreet Kabuki theatres, a fusion of the old and new, high and low, insider and outsider, freak and non-freak.” (Parr & Badger).



These photographs of Kabuki performances and other actors are mixed with snapshots of ordinary people: office workers become featureless components in the artificial glare of fluorescent lights and synthetic surfaces; or with photographs of embryos in test tubes printed at the end of the book. By combining these disparate subjects, Moriyama draws attention to the process by which a subject becomes a photograph, and how the act of photography is a theatrical event itself.

[Ref. Martin Parr & Gerry Badger, The Photobook: A History vol.I, p. 288; Ryuichi Kaneko & Ivan Vartanian, Japanese Photobooks of the 1960s and '70s, pp. 116-123]

Price Upon Request

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.

Price Upon Request

Multiple Artists IT
International Anthology of Contemporary Engraving:International Avant-Garde I-V, 1960-64
4260-BK

12 x 9 7/8 in. (30.5 x 25 cm)

Number 59 of 100. "Antologia internazionale dell'incisione contemporanea - L'Avanguardia internazionale", complete set. Preface of Franco Russoli. original black binding embossed and printed with the title on the front (minor wear), contained in original black paper slipcase. The international Avant-garde 1. With 20 original etchings in black by 20 artists such as Fontana, Hayter, Baj, Bertini, Bryen, Corneille, Copley, Crippa, Hamaguchi, Tinguely etc. All the etchings are signed by the artists. The international Avant-garde 2. Contain 20 etching signed and numbered by: P. Alechinsky, M. Bat-Yosef, G. Dova, Farfa, G. Harloff, P. Hiquilly, T. Imai, J. J. Lebel, P. Martin, E. R. Matta, B. Munari, B. Parent, M. Persico, C. Peverelli, C. F. Reuterswaerd, K. Sato, M. W. Svanberg, Toyen, J. P. Vielfaure, J. Zimmermann. Esemplare n. 4 su 100 esemplari totali. Edizione Galleria Schwarz - Milano, 1962. The international Avant-garde 3. With signed etchings by: N.Abe, G.Biasi, Bona, A.Cardenas, Chinn Yuen-Yuei, S.Dangelo, O.Fahlstroem, J.Herold, J.Langlois, E.L.T.Mesens, E.Paolozzi, A.Pomodoro, B.Quentin, K.N.Reddy, P.Revel, M.Rotella, Y.Tabuchi, Takis, Tancredi, C.Viseux. The international Avant-garde 4. Russoli, Franco. Schwarz, Milano, 1962. One of 100 copies, with signed etchings by: T.Brzozowski, M.Cahn, G.Capogrossi, J.Dobashi, C.Domela, L.Ferrari, J.Friedlaender, A.Gironella, F.Hundertwasser, P.Mansourov, R.Nieto, G.Novelli, A.Perilli, G.Pomodoro, E.Scanavino, L.survage, J.Tchorzewski, G.Turcato, A.Verlon, E.Zanartu.

Price Upon Request

Bruno Munari
Libro Illeggible N.Y.1, 1967
3372-BK

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.

Price Upon Request

Bruno Munari
De Kwadraat-Bladen - The Quadrat-Prints - Le feuilles-Cadrat - Die Quadrat-Blatter. An unreadable quadrat-print by Bruno Munari., 1953
3373-BK

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.

Price Upon Request

Bruno Munari
De Kwadraat-Bladen - The Quadrat-Prints - Le feuilles-Cadrat - Die Quadrat-Blatter. An unreadable quadrat-print by Bruno Munari., 1953
3379-BK

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.

Price Upon Request

Dieter Roth Mundunculum
Stamp Box, 1968
1207

11 x 11 x 2 3/4 in. (28 x 28 x 7 cm)

12 rubber stamps, 2 ink pads black and red ink. Instructions by Karl Gerstner and dieter rot on doublesheet. 28 x 28 x 7 cm in box made by workshop Galerie Der Spiegel, Cologne. Published by Tam Thek editors K. Gerstner and D. Spoerri Dusseldorf. Number 23/111 and signed. (announced 1965 catalogue 'edition mat mat'). DR. CW. 20 # 34.

Price Upon Request

Bruce Nauman
LAAIR, 1970
4803-BK

12 x 12 in. (30.5 x 30.5 cm)

Castelli /Multiples Inc., New York, 1970. First edition. Square 4to.; illustrated throughout in color; printed wrappers;staple-bound. LAAIR was Nauman's follow up to CLEARSKY. He later said of the two books that, "CLEARSKY was a way to have a book that only had colored pages--pictures of the sky. I like the idea that you are looking into an image of the sky, but it is just a page. LAAIR was the same idea, but it is also a response to CLEARSKY using polluted colors instead."

Price Upon Request

Bruce Nauman
Burning Small Fires, 1969
3932-BK

15 black and white images. Unnumbered edition. One sheet fold out book. fold out binding

Price Upon Request

Yoko Ono
Grapefruit, 1964
5542-BK

5 1/2 x 5 1/2 in. (14 x 14 cm)

Tokyo. Wunternaum Press.
Small square 8vo. Unpaginated. Original cream wrappers, printed title in
black to front wrapper. First edition of Yoko Ono's written Conceptual
compendium, this copy with a presentation in blue ink to initial blank in
Japanese and English, to Nigel Samuel and his wife Sue: 'Spring o spring
Why don't I fly in the sky tonight' / 'To Nigel & Sue, / Yoko / Spring
1967, / London'.

Nigel Samuel was the brother of Nicky Samuel, known as Nicky Weymouth.
Nicky, who knew Andy Warhol and many of the other great personalities of
the 60s, worked for Yoko when she was married to Tony Cox.

'Grapefruit' contains a series of 'event scores' that were designed to
replace the physical work of art. Often considered a Fluxus artwork, in
fact Grapefruit was originally published by Ono's own imprint, Wunternaum
Press in Tokyo in an edition of 500.

Event scores were developed by a number of artists attending John Cage's
Experimental Music Composition classes at the New School for Social
Research in New York. Whilst Ono did not attend these informal lessons,
her husband at the time, Ichiyanagi Toshi, (an experimental musician)
did, and Toshi and Ono became regulars of Cage's circle of friends by
1959.

After leaving New York in 1962, where she had exhibited at George
Maciunas' AG Gallery, amongst others, Yoko Ono's then-husband Anthony Cox
suggested she collect her scores together. Maciunas, had apparently been
trying to reach her in Tokyo with the aim of printing a similar book in
New York, as part of his series of Fluxkits, but his letters hadn't
reached her; she sent some of the scores and a prepublication
advertisement to be published in his Fluxus newspaper in February 1964
when contact was finally established.

The name 'Grapefruit' was chosen as the title because Ono believed the
fruit to be a hybrid of an orange and a lemon, and thus a reflection of
herself as 'a spiritual hybrid'. It also seems likely that it is a
playful allusion to Brecht's Water Yam.

This first edition contains over 150 'instruction works'; virtually all
are in English, with about a third translated into Japanese. They are
divided into five sections; Music, Painting, Event, Poetry and Object.
The instructions are preceded by dedications to figures including John
Cage, La Monte Young, Nam June Paik, Isamu Noguchi and Peggy Guggenheim,
and also includes documentation relating to Ono's recent exhibitions and
performances.

[Ref. Kellein - Frohliche Wissenschaft. Das Archiv Sohm, p. 88].

Price Upon Request

Kottie Paloma
Got a Quarter, 2006
1939

Unique artist Book about a bum begging for a quarter

Price Upon Request

Giulio Paolini
Sei illustrazioni per gli scritti sull'arte antica di Johann J. Winckelmann, 1977
6052-BK

Published by Mello e Persano, Genova 1977.At the beginning of the book (3 pages) there is a text by Winckelmann "Dell'arte del disegno de' Greci e della Bellezza".Then the six double pages (full pages) with the illustrations. All the illustrations are printed in lithograph and serigraph, but two of these are original (always different) large size (cm 50 x 70) original collages with attached pinted papers and a closed (mistery) envelope. Signed in the colophon in pencil by Paolini.

Price Upon Request

Giulio Paolini
Sei illustrazioni per gli scritti sull'arte antica di Johann J. Winckelmann (Six Illustrations for the Writings on Ancient Art by Johann J. Winckelmann), 1977
7763-BK

19 5/8 x 13 3/4 in. (50 x 35 cm)

Published by Mello e Persano, Genova, Turin.
Large Folio bound in brown buckram with 36 pages sewn in. Three pages of text by Winckelmann plus six double page illustrations printed in lithography and silkscreen, two of which are unique collages by the artist. One with ripped papers and the other with a closed mystery envelope. As published with printed white dust jacket and folding box with printed label on front. Signed and numbered 13 of 33. There were also seven copies numbered with Roman numerals.
Based upon the study of the ancient world by the 18th-century historian and writer Johann Joachim Winckelmann called “On Art, Grecian Drawings, and Beauty”, this work by Paolini is divided into six chapters, corresponding with six, two-page illustrations. It is a return to the tradition of bibliophilism, which, through its love of words, considers the book as a precious objet d 'art. Paolini’s reference to Winckelmann reaffirms the neoclassical origins of many of the artist's works. The plates, drawn in a refined contrast between whites, blacks, and ochres, are often embellished with collages.

Price Upon Request

Giulio Paolini
Un Quadro, 1971
11631-BK

8 1/2 x 6 1/8 in. (21.5 x 15.5 cm)

Milan: Galleria dell'Ariete, 1971. Folder with loose sheets, unpaginated. The catalogue for the Ariete exhibition becomes, with few textual interventions, an artist’s book. The work on display consisted of appliqué photographs from a work of 1960, Disegno geometrico, to which Paolini added a signature that corresponds to a different, imaginary author, and a title which is different but which bears some relation to the name of the author (e.g. the name Ahmed Barak corresponds to the title Mercato tunisino, which refers to a work by Kandinsky; or Zorah, the name of the Moroccan girl painted by Matisse, is attributed to Kalahari, which is also the name of an African desert). The book, a consequence of all this complexity, takes on the rarefied form of a conceptual work.

Price Upon Request

Giulio Paolini
Un Quadro, 1971
3490-BK

8 1/2 x 6 1/8 in. (21.5 x 15.5 cm)

Milano, Galleria dell'Ariete, 1971. Card with loose tables. Published for the exhibition. The catalogue for the Ariete exhibition becomes, with very few textual interventions, an artist’s book. The work on display in the gallery consists of appliqués photographs of a work from 1960, Disegno geometrico, to which Pauline adds a signature which always corresponds to a different, imaginary author, and a title which is always different but which bears some relation to the name of the author (e.g. the name Ahmed Barak correspond to the title Mercato tunisino, which refers to a work by Kandisky, or Zorah, the name of the Moroccan girl painted by Matisse, is attributed to Kalahari is also the name of an African desert). The book, which is the consequence of all this complexity, takes on the rarefied form of a conceptual work.

Price Upon Request

Giulio Paolini
Cio che non ha limiti e che per sua stessa natura non Ammette limitazioni di sorta, (What doesn't have limits and what of his own nature does not allow limitation of any kind), 1968
10173-BK

9 3/4 x 7 in. (25 x 18 cm)

The book is derived from a work, "Titolo, 1968", consisting of two large canvases placed side by side like two pages of an open book. Paolini states: “I placed all the letters from written names in my notebook.” As curator and critic Germano Celant observes, a name is just an abstract characterization that coincides with the person. This copy is one of only six copies numbered with Roman numerals, V/VI, where the title is handwritten on the cover of the book. In the regular edition of 50 copies, the title is printed on the mylar dustcover.

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Giulio Paolini
Cio che non ha limiti e che per sua stessa natura non Ammette limitazioni di sorta, What doesn't have limits and what of his own nature does not allow limitation of any kind., 1968
4539-BK

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

The book is derived of a work, Titolo, which was made in 1968 of 2 large canvases placed side by side like two pages of an open book. "I placed all the letters from written names in my notebook." In the essay about Paolini's book, Celant talks about the concept of the name as a insignificant sign (..) a personal and subjective term, which doesn't have any universal or linguistic characteristics. It's just an abstract characterization that comes together with the person. (Offmedia, in G.Celant, Artmix. Flussi tra arte, architettura, cinema, design, moda, musica e televisione, Feltrinelli, Milano 2008, p.38). Edition of 50 copies, signed and dated. 128pp

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Adam Pendleton
Anthology, 2018
11862-BK

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 4 of 24

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Adam Pendleton
Anthology #15, 2018
12142-BK

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

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Adam Pendleton
Anthology #16, 2018
12122-BK

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 16 of 24

Price Upon Request

Adam Pendleton
Anthology #5, 2018
11882-BK

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. pages.Copy n 5 of 24

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Pablo Picasso
Chevaux de minuit (Midnight Horses), 1956
5503-BK

Text by Roch Grey (Baroness Helene d'Oettingen)
Cannes and Paris:Le Degre Quarante et Un

Folio, 3 partially numbered leaves folded to form 10 triptychs, interspersed with 28 partially numbered leaves. Loose as issued within Auvergne wrapppers, covered with vellum wrappers, which are printed with the drypoint on the front. Vellum envelope with lettering on the spine. Illustrated with 1 drypoint and 12 engravings with burin by Picasso. With the publisher's original two-part cardboard folder with printed label (often lacking). This copy is in very good condition. Also, with the invitation designed by Iliazd for a gallery exhibition in Paris celebrating this books's publication.

Editiion of 68 copies : no 33 of 52 copies on vieux Japon, numbered from 1-52; 16 copies on Chine satine, numbered I-XVI. Cramer mentions the existence of some copies on vieux Japon that were marked "epreuve d'artiste" (artist's proofs) all copies signed by Picasso and Iliazd. Printed by Imprimerie Union for the text and Atelier Lacouriere for the plates.

Chevaux de minuit is a long and frenzied epic poem written by Roch Grey and illustrated by Picasso. His engravings of horses in a choreography of postures are described by Chapon as a stunning equestrian ballet ("eblouissant ballet equestre") (Pompidou, p. 71)

Iliazd's organization of the text on a given page was ingeniously calculated. In Chevaux de minuit....the staccato layout of Roch Grey's epic poem gallops, trots, and leaps in the company of Picasso's engraved horses." (MoMA, p. 17)

Bloch 809-821. Centre Georges Pompidou, Iliazd, p 71-72, 114. Cramer-Goeppert 73. MoMA, Iliazd and the Illustrated Book 22, plate 19.

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Pablo Picasso
Lysistrata, 1934
413

Containing six original etchings, each book signed by the artist. In original blue paper slipcase and box.

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Pablo Picasso
Exposition de dessins et aquarelles par Picasso chez Paul Rosenberg, 1919
5082-BK

6 11/16 x 8 1/4 in. (17 x 21 cm)

Catalogue of the exhibition at Paul Rosenberg Gallery in Paris. With an introduction by Andre Salmon. Book with 1 transfer lithograph, portrait of Olga, on Canson et Mongolfier laid paper."This great artist will not live long enough to cover the entire length of road lightened up by his Oeuvre." FIRST ILLUSTRATED CATALOGUE OF PICASSO. Cramer no. 6. Edition of 600, very rare,

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Michelangelo Pistoletto
Cento mostre nel mese di ottobre (One Hundred Exhibitions in October), 1976
10013-BK

3 1/2 x 3 1/2 in. (9 x 9 cm)

Galleria Giorgio Persano, Turin. *signed on inside cover 100 pages with original wrappers of absorbent yellow blotting paper. Each copy contains an original drawing by Pistoletto on the front cover. For this example, the artist has chosen a series of dots and signed on the inside of the cover. A small cube, this is an artist’s book entirely without illustration, containing instead 100 brief descriptions of exhibitions, all imagined, one per page, in Italian on recto and English on verso. One Hundred Exhibitions was a sort of recipe book of shows and works, many of which were later carried out. Reference: MAFFEI Giorgio, Libri e documenti. Arte Povera 1966-1980, Edizioni Corraini, 2007, pp. 168-169.

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Michelangelo Pistoletto
Le ultime parole famose (The Last Famous Words), 1967
3492-BK

7 1/8 x 5 1/8 in. (18 x 13 cm)

Turin: Tipolito Piana
Pistoletto’s first book (16 pages) is a summary, partly due to this humble, yet elegant edition (words only, with no other visual aid), of the ideals and tensions, which Arte Povera artists had been trying to express since their beginnings. The little book contains the artist’s writing in Italian and English, broken down into two sections, Speculation and Being. Choosing two languages, unusual at the time, seems to be the expression of a need to expand thoughts beyond the physical confines of the artist’s own existence.

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Dieter Roth Poetrie Serie
Poeterei 3/4, 1967-68
1330

9 7/8 x 5 5/8 in. (25 x 14.3 cm)

Double issue of the biannual review for poetry and poesy. No 3, 24 pages letterpress with an 'original rhein' (original collage) signed. No 4, 44 pages letterpress closed bolt with an 'original ram' (original object) signed. Adhesive binding. cover goat embryo skin. Printed by G. Hohm Cologne. Published by edition Hansjorg Mayer, Stuttgart.Number 148/230 , dated 68 and signed . 10 ·authors copies. Approx 40 copies bound in goat embryo skin. Rest in different kinds of leather. Published by divers press, Cologne. Book of poetry with one "original rhein" photo collage with poems from Roth's magazine. The poems are about death, decay, impermanence, excrement, and eroticism. The bag thus literally blends eros and thanatos sensual poems with rotting flesh. Through its possible allusions to sacrificial rams and lambs it bears religious undertones reminiscent of the literary musings of Georges Bataille, whose dadaist writings on the erotic and the grotesque appealed. DR. CW. 20 # 35.25 x 14 cm Collection Rudolf Reiser

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Dieter Roth Poetrie Serie
80 Wolken aka 80 Clouds, 1967
4355-BK

5 7/8 x 5 7/8 in. (15 x 15 cm)

41 heavy clouds for Rudolf Rieser (2. edition). 32 heavier clouds for Hansiorg Mayer. 24 pages letterpress, adhesive binding, softback. Printed by Staib + Mayer Stuttgart. No 32 of the review 'rot' published by M. Bense and Elisabeth Walther, Stuttgart. 550 copies. 41 heavy clouds for Rudolf Rieser (2. edition). 32 heavier clouds for Hansiorg Mayer. 24 pages letterpress; Adhesive binding ( closed bolt softback. Printed by staib + mayer Stuttgart. No 32 of the review 'rot' published by m. bense and elisabeth walther stuttgart 1967. 550 copies. 2. edition. Dieter Rot gesammelte werke band 15 (siehe nr 42) dieter rot collected works volume 15 (see no 42). DR. CW. 20 # 31.

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Dieter Roth Poetrie Serie
Poetrie 1, 1967
3789-BK

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

no 1 of the biannual review for poetry. 26 pages letterpress on handmade paper. Adhesive binding closed bolt, softback. Cover by R. Rieser Cologne. Printed by G. Hohm Cologne. Published by edition Hansjorg Mayer Stuttgart. 130 numbered and signed copies. Approx 20 authors copies. Approx 80 copies with written and painted. Additions by the author. This is an Extra copy for the edition of 130. DR. CW. 20 # 25. 25,4 x 14,3 cm. Collection Jons Hjalmarsson

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Dieter Roth Poetrie Serie
Poetrie 2, 1967
4013-BK

9 7/8 x 5 1/2 in. (25 x 14 cm)

301 little clouds in memoriam big J and big G. 48 heavy clouds for Rudolf Rieser. 34 pages letterpress. adhesive binding, softback. Part of the edition in dustjacket. Cover design by R. Rieser Cologne. Printed by G. Hohm Cologne. Published by edition Hansjorg Mayer Stuttgart. Numbered 60/130 and signed. 20 authors copies. On the last page an 'original worke' (original drawing) signed. DR. CW. 20 # 30. 25 x 14 cm Collection Rudolf Reiser

Price Upon Request

Sigmar Polke
Monchengladbach, 1983
1256

Book of reproduced drawings from a notebook

Price Upon Request

Dieter Roth Postcards
Postkartenblock. (postcard pad), 1971
4314-BK

3 7/8 x 5 7/8 in. (10 x 15 cm)

88 postcards as tear-off pad. 176 pages original rotaprints. 10,1 x 15 cm adhesive binding softback. Printed by Hj. Mayer and Valerie Pedlar Watford, school of art. Published by edition Hansjorg Mayer, Cologne. London Hellnar. 100 numbered and signed copies. 20 authors copies. This is the copy number 55 of 100. DR. CW. 20 # 47.

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Dieter Roth Postcards
8 Postkarten, 1967
1794

8 1/8 x 4 1/8 in. (20.5 x 10.5 cm)

Reproduced images from DR's Diaries from 1967 which he made into a postcard format in two plastic sleeves(4 in each) each one signed and numbered #69/150 copies.

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Dieter Roth Postcards
siebdruckbild 1, 1967
4227-BK

4 3/8 x 5 1/2 in. (11 x 14 cm)

Edition hans jorg mayer: Stuttgart 1967 (Answer to question by Emmett Williams; four screenprints each cut up to make 12 postcard, loose in envelope). DR. CW. 20 # 28. 16x12cm

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Richard Prince
Menthol Pictures, 1980
5371-BK

First Edition. Octavo. Staple-bound pamphlet with a single photographic image on the front cover. The FIRST of three titles in Prince's 1980 Menthol Trilogy, consisting of his first three published artist books. Menthol Wars was published in conjunction with a window installation at Printed Matter. Near fine in photo-illustrated wrappers. Each book in the Menthol Trilogy is extremely scarce.

Price Upon Request

Dieter Roth Prints
A Bunch of Flowers, 1996-98
3787-OR

16 1/2 x 11 11/16 in. (42 x 29.7 cm)

Paint and colored pen over a color copy
12 unique works on paper
Provenance: Agnar Gústafsson

12 unique works on paper, paint and color pen, some on photocopy paper made by Roth.

Price Upon Request

Dieter Roth Prints
Am Blauen Meer, By the blue sea, 1972
3959-PR

silk screen on carton, 90x90cm, edition of 80

Price Upon Request

Dieter Roth Prints
7 Cages(7x1), 1971
4453-PR

23 13/16 x 19 7/8 in. (60.5 x 50.5 cm)

Fancy Cage, Puzzle Cage, Elevated Cage, Mezzo Cage, Small Cage, Triple Cage, and Inhabited Cage. Published by Petersburg Press, London. Dobke 200-206 Edition of only 60 copies.

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Dieter Roth Prints
HAT RING, 1971
4455-PR

5 7/8 x 3 7/8 x 3 7/8 in. (15 x 10 x 10 cm)

Edition of only 10 copies. Reykjavík / Luzern · 1971 · With gold ring and 5 interchangeable hats: iron, copper, brass, silver and gold, in brass box · 5 x 10 x 15 cm · edition# 6 of 10 · made by Langenbacher & Wankmiller, Luzern. Signed on the ring by the artist.

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Dieter Roth Prints
Löwenkäfig, Lion Cage, 1971
4181-PR

23 13/16 x 19 7/8 in. (60.5 x 50.5 cm)

4 etchings in portfolio with signed lithograph cover. Edition of only 10 copies. This series has an image of The Lion of Lucerne by Berthel Thorvaldsenon in two of the plates reproduced with photo-engraving .Edition 3 of 10, signed and dated.

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Dieter Roth Prints
Berner Oberland, 1970
4172-PR

40 1/8 x 28 3/4 in. (102 x 73 cm)

Siebdruck 10-25 Farben auf weissem Karton 1 positive und 1 negative Druckform bearbeitet. Verlag Toni Gerber, Bern, Provenance- Ronald Feldman Fine Arts, Inc

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Dieter Roth Prints
Berner Oberland, 1970
4393-PR

40 1/8 x 28 3/4 in. (102 x 73 cm)

Siebdruck 10-25 Farben auf weissem Karton 1 positive und 1 negative Druckform bearbeitet. Verlag Toni Gerber, Bern, Provenance- Ronald Feldman Fine Arts, Inc

Price Upon Request

Dieter Roth Prints
Berner Oberland, 1970
4405-PR

40 1/8 x 28 3/4 in. (102 x 73 cm)

Siebdruck 10-25 Farben auf weissem Karton 1 positive und 1 negative Druckform bearbeitet. Verlag Toni Gerber, Bern, Provenance- Ronald Feldman Fine Arts, Inc

Price Upon Request

Dieter Roth Prints
Color Poloroid for deluxe edition volume 15, 1970
4352-PH

Color poloroid mounted on rubber, painted blue. signed and dated by artist 23x18inches

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Dieter Roth Prints
Emme, 1970
3782-PR

40 1/8 x 28 3/8 in. (102 x 72 cm)

Siebdruck 5-25 Farben auf weissem Karton eine positive und eine negative Druckform fotomechanische Reproduction einer Fotografie von Hartwig Roth. Verlag- Galerie Toni Gerber, Bern

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Dieter Roth Prints
Emme, 1970
4173-PR

28 3/4 x 40 1/8 in. (73 x 102 cm)

Siebdruck 5-25 Farben auf weissem Karton eine positive und eine negative Druckform fotomechanische Reproduction einer Fotografie von Hartwig Roth. Verlag- Galerie Toni Gerber, Bern. Provinance- Dr. Luise Krohn

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Dieter Roth Prints
Emme, 1970
4391-PR

40 1/8 x 28 3/4 in. (102 x 73 cm)

Siebdruck 5-25 Farben auf weissem Karton eine positive und eine negative Druckform fotomechanische Reproduction einer Fotografie von Hartwig Roth. Verlag- Galerie Toni Gerber, Bern

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Dieter Roth Prints
Emme, 1970
4404-PR

Siebdruck 5-25 Farben auf weissem Karton eine positive und eine negative Druckform fotomechanische Reproduction einer Fotografie von Hartwig Roth. Verlag- Galerie Toni Gerber, Bern

Price Upon Request

Dieter Roth Prints
German Cities - unique set, 1970
4194-PR

5 unique prints from proofs before the edition was made which the artist hand cut and signed each piece as a gift to the printer.

Price Upon Request

Dieter Roth Prints
Koln Cologne, 1970
4102-PR

39 3/8 x 27 1/2 in. (100 x 70 cm)

inscribed to Rudolf Rieser

Price Upon Request

Dieter Roth Prints
Piccadilly proof print, 1970
4712-OR

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

Purchased from Hanns Sohms widow

Price Upon Request

Dieter Roth Prints
Piccadilly proof print, 1969
4722-OR

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

Purchased from Hanns Sohms widow

Price Upon Request

Dieter Roth Prints
Eiertanz- Dancing Eggs, 1965
3330-OR

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

Stamp drawing on transparent paper. 42,7 x 35,5 cm. Pictured in Munduculum. Monogrammed and dated : D.R. 65. This drawing served for the illustration in : Dieter Roth, Collected works, vol. 16, p. 167.

Price Upon Request