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.

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Ansel Adams
These We Inherit, 1962
1640

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Charles d' Aiguebelle
Homographie, 1828
4080-BK

First edition. The work consists of 20 hand-coloured lithographic and nature-printed plates by d'Aiguebelle. Charles d'Aiguebelle used a combination of lithography and nature printing for preparing the plates of this work, and termed the process 'Homographie'. Leaf specimens were coated in wax and applied to the lithographer's stone, the other parts of the plant were then superimposed and the whole printed as a single image. This technique struck a good balance between the accurate detail achieved by nature printing, and the artistic effect brought about by the lithographic process. Further publications which never materialised were promised by d'Aiguebelle. This is all published by Charles d'Aiguebelle. Each plate is with accompanying scientific text by L. Madale.

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Josef Albers
Formulation: Articulation, 1972
2007

The complete two volume portfolio, comprising 127 screenprints in colors, signed in ink on the title page, the full sheets, in good condition, contained in the original gray linen-covered folders and slipcases (2 volumes). Each sheet c. 381 by 508mm. 15 x 20 inches

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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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Noriko Ambe
Linear actions cutting projects voyage 4, 2003
793

cuts on yupo(framed)

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Noriko Ambe
voyage 14, 2003
3214-BK

Hand cut notebook of the artist. Exhibited 2004 in Talespinning at Drawing center

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Noriko Ambe
Geography of Japan II, 2002
794

11 x 8 in. (27.9 x 20.3 cm)

Japanese encyclopedia, hand cut by the artist. Evoking annual rings of a tree or a topographical map or waves, the artist entered incisions and drawings into an encyclopedia, playing against pre-set patterns and stretching the properties of the material to extreme lengths.
*This copy was exhibited in 2004 in the show Talespinning at the Drawing Center, New York.

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American Currency
Twenty Shillings nature printed note printed by B. Franklin and Hall in Delaware, 1759
562

Twenty Shillings nature printed note printed by B. Franklin and Hall in Delaware

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Bentley, W.A. and Humphreys, W.J.
Snow Crystals, 1931
1677

In 1931 Dr. William J. Humphreys, Chief Physicist for the U.S. Weather Bureau, sorted through some 4500 of Bentley's photomicrographs (the original negatives and some of his notebooks are housed at the Jericho Historical Society, Vermont) and published 2453 of his pictures -- most of them of ice crystals and about 100 of sleet , ice, frost and dew. By adapting a microscope to a bellows camera, Bently became the first person to photograph a single snow crystal in 1885. His work showed that no two snowflakes are alike.

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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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Edme Ansberque
Flore Fourragere de la France, 1866
669

271 plates printed in powdered red sanquine. This method of printing was developed in Lyon using a lithographic stone where the plants were inked and them pressed onto the stone.

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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
Tokyo Summer Story, 2003
2158

Signed by artist

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Noboyoshi Araki
Personal Sentimentalism in Photography, 2000
2155

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Noboyoshi Araki
After the War, 1993
2154

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Noboyoshi Araki
Confidential-High School Girl in Uniform, 1993
2129

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Noboyoshi Araki
Tokyo Lucky Hole, 1990
2127

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Noboyoshi Araki
On Photography, 1989
2126

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Noboyoshi Araki
Pure heart - Photographic Novels, 1989
2153

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Noboyoshi Araki
Shinjuku yo !, 1984
3807-BK

8 1/4 x 5 1/8 in. (21 x 13 cm)

Okadome Yasunori + Nobuyoshi Araki Jam session. Tokyo, Seihô-sha,, 204p., 112 photographs of Araki and text of Okadome. Soft white cover, illustrated dust jacket with the title and artist name. graphic design: Shinobu Naitô. Ref. Self Life Death / Nobuyoshi Araki. New York, Phaidon, 2005, Bibliography, p.696, ill.

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Noboyoshi Araki
Tokyo Autumn., 1984
2125

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Noboyoshi Araki
Love Scenes, 1983
2182

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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
My love and sex, 1982
2151

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Noboyoshi Araki
A photo novel, 1981
2152

wonderful book

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Noboyoshi Araki
Araki Nobuyoshi: Photo-life., 1981
2124

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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
Songs of sentimental journey in pursuit of woman, 1981
2149

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Noboyoshi Araki
Araki Nobuyoshi's Pseudo-reportage, 1980
2121

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Noboyoshi Araki
Araki Nobuyoshi's-diary, 1980
2122

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Noboyoshi Araki
Essays of Photography, 1980
2123

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Noboyoshi Araki
Images of violence: Actress, 1978
2150

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Noboyoshi Araki
The Camera between Men and Women, 1978
2120

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Noboyoshi Araki
Journey to Photography, 1976
2119

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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
Oo Nippon (Oh Japan!), 1971
1902

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

Tokyo: Mikishuppan. 255 black and white photographs printed using the heliogravure method. Original colour photo-illustrated self-wraps. Paperback with printed cover. 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.

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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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Noboyoshi Araki
Tokyo Travel Diary
2157

Signed by artist

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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.

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Nobuyoshi Araki
Oo Nippon (Oh Japan!), 1971
1902

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

Tokyo: Mikishuppan. 255 black and white photographs printed using the heliogravure method. Original color photo-illustrated self-wraps. Paperback with printed cover. 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 a plain background. Pubic hair is, in conformity with Japan’s censorship laws, covered with dark marker pen.

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]

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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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Hans Arp
Soleil Recercle. The Suite, 1966
4290-BK

19 5/8 x 15 3/4 in. (50 x 40 cm)

Suite number 14

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Artistes Divers
Miriorama 12,1962, 1962
3869-BK

7 3/4 x 7 3/8 in. (20 x 19 cm)

ANCESCHI, BORIANI, COLOMBO, DEVECCHI, VARISCO - GALLERIA DEL CAVALLINO

In 1959 Giovanni Anceschi, Davide Boriani, Gianni Colombo, and Gabriele Devecchi meet each other at the Academy of arts of Brera, where they take part to the experiences of the Milan avant-garde of those years. They participate with Piero Manzoni and Enrico Castellani to the organization and the activities of the galleria Azimut. Here they meet, among others, Heinz Mack, Enzo Mari, Manfredo Massironi, the group Motus (later known as GRAV), with whom they reunite for the activities of Programmed Art and New Tendencies.



On September 1959 they exhibit mixed material and monochrome artworks at galleria Pater in Milan. After becoming fully aware of the tendency towards a tabula rasa, which was typical to the visual arts of those years, they felt the need to take this trend to its extreme consequences and to overcome it through the actions of what had become, in fact and since long, a group. During a “constant seminar” made of discussions – mostly held at the tables of bar Titta in Brera –, Boriani proposes to the group the production of “variable works”, “in four dimensions”, where the time component is perceivable in the unpredictable and irreversible variation of the image. The variation is obtained through the movement that modifies the spatial structure of the artwork over time. This proposal opens a phase of collective debate, which produces a series of scenarios. Firstly, the need of a random component emerges, in order to break the cyclical mechanical movement. This implies to allow the audience to actually intervene in the work. Involving the different contributions, the group prepares a series of programmatic texts with a strong philosophical side. These positions are summed up in the declaration “Miriorama 1” of October 1959, which can be described as a theoretical platform and a technical manifesto. Gruppo T (Anceschi, Boriani, Colombo, Devecchi) is founded on these bases. The collective and solo manifestations of the group are all entitled “Miriorama” (never-ending visions, from the Greek “orao”, to see, and “myrio”, which denotes a nearly uncountable quantity), numbered consequently (1-14) in order to stress the continuity of a shared program, which guides the work of the group for many years.



Referring to unrealized utopias proposed by historical avant-garde movements, Gruppo T has opened research scenarios and new operational methods. They started by producing works, both collective and individual, based on the effects of variation in material, surface, color, etc. These works employing novel methods, techniques, and material, are a sort of “fields of happenings”, without any personal sign of the artist, and open to the intervention of the audience.



Miriorama 1, the first manifestation of the group, was organized in January 1960 at galleria Pater in Milan. On this occasion the Declaration was published. Four solo exhibitions followed, one per each artist of the group (Miriorama 2 to 5).



Miriorama 6 in 1960 is the second group exhibition and marks the presence of Grazia Varisco as a new member of the group.



On the occasion of Miriorama 7, at galleria San Matteo in Genua in 1960, the second theoretical declaration of the group was published: it is a text where the word Miriorama is repeated never-endingly. At Miriorama 8 in 1960, Gruppo T exhibits an edition of ten copies of five multiples, numbered and signed, at the shop of Bruno Danese in Milan (the multiples were re-edited by Alessi in 2010). For Miriorama 9 in 1961, Gruppo T sends fifteen ultra-light artworks to Minami gallery in Tokyo, upon the invitation of the artist Shuzo Takiguchi. Miriorama 10 in 1961 at galleria La Salita in Rome was accompanied by a text by Lucio Fontana. Miriorama 11 at Studio N in Padua in 1962 featured a presentation by Bruno Munari. The catalogue of Miriorama 12 at galleria del Cavallino in Venice in 1962 was a folding combinatory poem by Nanni Balestrini.



Gruppo T presents “programmed graphics with cybernetic criter

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Artistes Divers
Miriorama 6, 1960
3868-BK

12 1/8 x 8 1/4 in. (31 x 21 cm)

Galleria Pater, Milan, 3-6 March 1960- ANCESCHI, BORIANI, COLOMBO, DEVECCH

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Artistes Divers
Galleria dell'Ariete Catalogue Collection, 1955-1978
7872-BK

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

Collection of catalogues from the Galleria dell'Ariete, Milan. Founded in 1955 by Beatrice Monti della Corte, the Galleria dell’Ariete rapidly became one of the foremost galleries for contemporary art, introducing young Italian artists to American collectors and promoting contemporary American artists in Italy through associations with the galleries Kasmin and Waddington in London, and Leo Castelli and Betty Parsons in New York. Of 212 catalogues published, this set comprises 198, the most complete group ever assembled. List furnished upon request.

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Artistes Divers
Complete set of Immagini(1-3), 1946
4381-BK

(31 x 23.5 cm)

Each portfolio of 20 prints, published by the Istituto Italiano Arti Grafiche, Bergamo.Volume one is by Cavalli, two by Vender and three is by various artists titledf Mountains. Very rare to see complete in fine condition.

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Japanese Photography Artistes Divers
Deja vu Quarterly. Vol 1-13, 15-18,20, 1990-1995
2310

Tokyo: Toki Sayuri; Photo-Planète Co., 1990-1995. First ed. Complete run of 20 issues #1 through #20, plus the Special Issue. 4tos., various paginations, profusely illustrated in b&w and color, some folding leaves. Illustrated stiff wrappers. The issues are fine. The first three issues with printed wraparound bands (obi). In Japanese and English; though some of the essays and interviews are in Japanese only. Includes the following photographers: Araki, Moriyama, Shinoyama, Hiroshi Sugimoto, Seiji Kurata, Hamish Fulton, Wim Wenders, Robert Frank, Jan Saudek, Emmet Gowin, Martin Parr, Yutaka Takanashi, Nan Goldin, Shomeu Tomatsu, Kineo Kuwabara, Larry Clark, Sebastião Salgado, Kou Inose, Frederick Sommer, Mapplethorpe, et al. Includes bibliographies, biographies, interviews, essays, reviews. A complete run of all issues published of this important Japanese periodical.

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Japanese Photography Artistes Divers
Camp Vol. 1 or Last!, 1980
1769

Paperback with printed cover. Moriyama started the Camp gallery as a way of promoting young Tokyo artists. Kitajima was the first photographer to show his work here, beginning with his Tokyo project, followed by Okinawa. This unique, ephemeral publication dates from 1980, marking the opening of the gallery and announcing planned projects. Names mentioned include Shibuya Noriko, Ohba Kazuhiro, Sugimoto Takeki, Asahikawa Takashi, Koike Masato, Tokunaga Kôichi, Yoshiuma Kazuo, Yamamoto Kazuya, Kobayashi Minoru and Yada Takashi.

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Japanese Photography Artistes Divers
Off-Visual Quartery Magazine. vol 1, 1973
2308

Kikan Shoseki

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Japanese Photography Artistes Divers
Geribara 5 (1 set, 3 vol.) Benjo (toilet), Mizugi no Yangu Redii-Tachi (Young Ladies in Bathing Suits), Five girls, 1971-1972
1757

Takase Yoshio, Araki Nobuyoshi, Takase Yoshio, Yaehata Koji, Tabogami Naohosia, Ikeda Fukuo, Kamiguchi Tomoko. Paperback with illustrated covers. Volume 1: Benjo (Toilette) 258x182 mm (10,1/4x7,1/4 in): 1971. Photographer: Takase Yoshio. 104pp. Paperback. 104 B&W photographs. Volume 2: Mizugi no Yangu Redii-Tachi (10,1/4x7,1/4 in): 1971. Photographers: Araki Nobuyoshi, Takase Yoshio, Yaehata Koji, Tabogami Naohosia, Ikeda Fukuo, Kamiguchi Tomoko. 102 pp. Paperback. 300 B&W photographs. Volume 3: Five Girls 250x182 mm (9,3/4x7,1/4 in). 1972 Photographer: Araki Nobuyoshi, Takase Yoshio, Yaehata Koji, Tabogami Naohosia, Ikeda Fukuo, Kamiguchi Tomoko. 86pp. Geribata brings together several young avant-garde Japanese photographers, of whom Araki is the most prominent, connected by similar tastes for farce and irony associated with their conceptual research. The first volume is a solo work by Takase Yoshio and deals mainly with graffiti in Tokyo public toilets. The second is a collective work uniting differently cropped portraits of young girls posing on Japanese beaches. The third, visually less homogenous, allows every photographer of the group to make a portrait of a woman of his choice.

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Japanese Photography Artistes Divers
Ken, 1970-1971
1974

Ken was published by Shaken, a company established by the photographer Tomatsu Shomei, who provided the cover photograph for the first issue. Each of the three issues that appeared before the magazine ceased publication was edited by a different photographer: Sawano Yoshio, Naito Masatoshi, and Kimura Tsunehisa. The first issue contained criticism of the Osaka World Exposition and cultural criticism related to photography. Contributors included Taki Koji, Moriyama Daido, Nakahira Takuma, and Araki Nobuyoshi.

Price Upon Request

Japanese Photography Artistes Divers
Provoke (3 vol.), 1968 - 1969
1786

Provoke 3: 1968. Taki, Koji ; Takanashi, Yutaka ; Nakahira, Takuma ; Moriyama, Daido ; Text by Yoshinmasu, poem by Okada. Paperback with printed cover. 239x185 mm (9,1/2x7, 1/4 in), 110 pp. Complete collection of this legendary publication (NB: Provoke 4 appeared in 1970, after the group fell apart) uniting the most innovative post-war Japanese photographers. Breaking tradition and taboo, Provoke presented a new style - violent, dirty, embracing the accidental, the blur and shadow of social critique.

Price Upon Request

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.

Price Upon Request

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.

Price Upon Request

John James Audubon
Quadrupeds of North America, 1849-54
282

3 vols. First octavo edition containing 155 hand colored lithographs. Armorial bookplate of Harmon Pumpelly and his signature in light ink on title page of each volume.

Price Upon Request

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.

Price Upon Request

Alois Auer
Kosmos.Zeitschrift für angewandte Naturwissenschaft., 1857
533

Cosmos magazine for applied natural science. With 4 nature printed plates, one being a fold out very large tropical leaf. Fischer No. 41c

Price Upon Request

Alois Auer
Die Entdeckung des Naturselbstdruckes oder die Erfindung etc., 1854
531

The discovery of the Nature Printing-Process. With 19 (1 double-page) nature printed plates. Fischer No. 40

Price Upon Request

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.

Price Upon Request

Alois Auer
Der Polygraphische Apparat oder die verschiedenen Kunstfacher der K.K Hof- und Staatsdruckerei, 1853
495

2 volumes containg 8 nature printed plates. Fischer No. 41

Price Upon Request

Alois Auer
The Discovery of the Nature Printing-Process., 1853
541

4 volumes in original printed paper wrappers; Italian, French, English, German. It is the first published work describing the process of Nature Printing. Not in Fischer.

Price Upon Request

Alois Auer
Album der K.K. Hof- und Staatsdruckerei in Wien, 1850-53
4555-BK

Naturselbstdrucke in 6 parts being: 28 Nature-printed and coloured plates of plants, flowers and leaves; 5 nature-printed and coloured plates of mosses; 5 nature-printed plates of fossils; 10 nature-printed plates of engraved etched stones; 11 nature-printed coloured plates of fabrics (mostly lace) and 2 entitled various but depicting only snake skins. Wien, K.K. Hof- und Staatsdruckerei, (1850/1853). Imp. folio sized portfolio with 61 very beautifully nature-printed plates with wide margins. 59 plates were printed on thick handmade paper dated 1853, but 2 plates are on different paper and dated 1850, these two plates are also nature-printed, but with a somewhat different technique. In an orig. h.calf box with gilt edges.

Price Upon Request

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.

Price Upon Request

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

Richard Avedon
Observations, 1959
1692

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,

Price Upon Request

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

Price Upon Request

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

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

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

Published by Giampaolo Prearo/Galleria Toselli, Milan

Edition of 2000 copies; all unsigned and unnumbered.

Price Upon Request

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’.

Price Upon Request

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

Price Upon Request

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.

Price Upon Request

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

Gabriele Basilico
Milano Ambiente Urbano, 1978
4370-BK

with text by Augusto Cagnardi

Price Upon Request

Bernd and Hilla Becher
Wasserturme, 1988
1688

Signed by artists in pencil

Price Upon Request

Bernd and Hilla Becher
Set of first 15 editions, 1970-2005
810

Fachwerkhauser, Wasserturme, Anonyme Skulpturen, Hochofen, Fabrikhallen, Industrielandschaften, Typologien, Tipologie Typolhien Typologies, Forderturme, Forderturme Chevalements Mineheads, Zeene Hannibal, Pennsylvania Coal Mine Tipples, Die Architektur Dertorder Und Wassertume, Zeehe Zollern 2, and Gasbehelter

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

Bernd and Hilla Becher
Anonyme Skulpturen : A Typology of Technical Constructions, 1970
2210

Price Upon Request

Bernd and Hilla Becher
Form genom Funktion
967

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

John Witchurch Bennett
A selection from the Most Remarkable and Interesting of the fishes found on the Coast of Ceylon., 1834
60

30 fine hand coloured engraved plates each accompanied with a page of description.. 4to

Price Upon Request

Bentley, W.A. and Humphreys, W.J.
Snow Crystals, 1931
1677

12 x 10 in. (30.5 cm)

In 1931, Dr. William J. Humphreys, Chief Physicist for the U.S. Weather Bureau, sorted through some 4500 of Bentley's photomicrographs (the original negatives and some of his notebooks are housed at the Jericho Historical Society, Vermont) and published 2453 of his pictures—most of them of ice crystals and about 100 of sleet, ice, frost, and dew. By adapting a microscope to a bellows camera, Bentley became the first person to photograph a single snow crystal in 1885. His work illustrated that no two snowflakes are alike.

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

Marcus Elieser Bloch
Ichtyologie, ou histoire naturelle générale et particulière des poissons. Avec des figures enluminées, dessinées d'après nature., 1796
1458

24 plates from the monumental work on fishes containing 432 hand colored plates.

Price Upon Request

Karl Blossfeldt
First Forms of Art, 1930
4365-BK

Title and contents page, 80 photographs on 40 sheets after Karl Blossfeldt, contents loose as issued. Publisher's half cloth over patterned paper covered boards, yellow title label on the upper cover, silk tie (Library blindstamp). Printed from the original glass negatives.

Price Upon Request

Alighiero Boetti
111, 1994
3715-BK

Signature red cloth cover with photocopies of newspapers and some of his earlier pieces . Edition of 160 copies signed and numbered. 30.5x21.5cm

Price Upon Request

Alighiero Boetti
Cieli ad Alta Quota, 1992
4093-BK

Puzzle on paper, 6 parts,

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

Pierre Bonnard
Sainte Monique, 1930
4248-BK

With 17 orig. etchings, 178 orig. woodcuts and 29 transfer lithographs by P. Bonnard. Paris, Vollard 1930. Loose sheets and plates in orig. wrappers, together in new boards case. 4to.Edition number 185 of 340. The coppers and wood blocks were destroyed after printing.

Price Upon Request

Pierre Bonnard
Dingo, 1924
4229-BK

14 7/8 x 10 5/8 in. (37.7 x 27 cm)

Ambroise Vollard Paris. Quarto. Edition n 169 of 370. one of 280 copies on vergé d'Arches, etching on original upper wrapper and title-page, a total of 55 illustrations, including 14 full-page, all by Bonnard. Mirbeau's story of a semi-wild Australian pup's life in France and his attempts to accommodate "civilization", first published in 1912 but probably known best today through this edition published by Vollard with Bonnard's etched illustrations. The project was Bonnard's first extended use of etching and drypoint, He began working on the illustrative possibilities of the novel after its initial publication, and his first sketches were published the following year (1913) in Les Cahiers d'aujourd'hui. The Vollard edition did not appear until 10 years later. The collaboration between the publisher and art dealer, Vollard, and Bonnard was of the greatest significance in the development of modern art and particularly the Livre de peinture. their first collaboration was an edition of Verlaine's "Parall'element" (1900), which is generally taken as the starting point of these magnificent artist's books.

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
Hommage à Kelly, 2016
9633-BK

8 x 6 in. (20.3 x 15.2 cm)

The 1,216-page volume of pure color blocks concealed in a black box is a limited edition of 99 copies, signed and numbered in pencil.

Price Upon Request

Irma Boom
Hommage à Kelly, 2016
09823-BK

8 x 6 in. (20.3 x 15.2 cm)

Designed as a tribute to one of her inspirations, the minimal artist Ellsworth Kelly, who passed recently. The enormous 1,216-page volume of offset pure color blocks is encased in a clamshell black box and printed in a limited edition of only 99 copies, each signed and numbered in pencil. Amsterdam: Slewe Gallery. This is copy #95.

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

Francisco Bores
Bores, 1961
2117

Includes 8 lithographs by Bores.

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
Album, 1997
1563

8 3/8 x 12 in. (21.5 x 30.5 cm)

123 pages, offset, cloth with brass binding screws.

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
Braque Lithographe, 1963
4243-BK

12 5/8 x 9 5/8 in. (32 x 24.6 cm)

preface by Francis Ponge, catalogue and notes by Fernand Mourlot, edited and published by André Sauret, Monte Carlo, 1963. ex. 35 of the Special edition of only 125 on Arches with 2 signed lithos in original box

Price Upon Request

Georges Braque
Resurrection de l'oiseau, 1958-59
4273-BK

15 3/8 x 11 3/4 in. (39 x 30 cm)

Frank Elgar ; [Lithographies originales de] Georges Braque. – Paris: Maeght, 1958. - 136 p. : ill. ; 40 cm. Printer: Fequet et Baudier (Paris) (text) Mourlot frères (Paris) (lithograph). Edition: 225 copies. This is number 96 of 225.

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
Les Paroles transparentes (Transparent Words), 1955
4240-BK

18 x 14 in. (45.7 x 35.6 cm)

Text by Jean Paulhan.

Published by the association Les Bibliophiles de l'Union Française, Paris. First edition, one of 132 exemplars produced for the members of the club (no copies were for sale). Illustrated with 14 lithographs in tones of blue or brown on handmade Auvergne du Moulin Richard de Bas paper; four are hors-texte. 84 loose quires in wrappers, half vellum sleeve, and slipcase; the slipcase with very minor imperfections, otherwise excellent condition.

Signed on the justification page in pencil by Georges Braque, Jean Paulhan and Leon Léal (club's president). Provenance J.R. Abbey. References: Vallier 102; Rauch 109; Monod 8909.

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

Brassai
The Secret Paris of the 30's, 1976
1578

Inscribed, "Pour Lee Witkin, bien aien amicalement, Brassai, New York, le 11 Oct. 1976".

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

Andre Breton
Second Manifeste du Surrealisme, 1930
2231

Madame Therese Bertrand-Fontaine's copy #14 of 60 deluxe issue with colored au pochoir lithograph by Salvador Dali and inscribed by Breton.

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

Bruno Munari and Ugo Mulas
Campo Urbano, 1969
4374-BK

11 5/8 x 7 5/8 in. (29.5 x 19.5 cm)

In Campo Urbano (1969) Ugo Mulas (1938-1973) disbands with conventional divisions between documentation, portraiture, and artwork by employing tilted camera angles, unusual framing, and a series of images that visually describe a daylong intervention in the city of Como. The work foreshadows his later engagement with the conceptual side of photography, its framing and mirroring of the world.

Price Upon Request

Bruno Munari and Ugo Mulas
Campo Urbano, 1969
4399-BK

In Campo Urbano (1969) Ugo Mulas (1938-1973) disbands with conventional divisions between documentation, portraiture, and artwork by employing tilted camera angles, unusual framing, and a series of images that visually describe a daylong intervention in the city of Como. The work foreshadows his later engagement with the conceptual side of photography, its framing and mirroring of the world.

Price Upon Request

James Buckman
The natural history of British meadow and pasture grasses, with an account of their economy and agricultural indications., 1858
679

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

Burnhard
Girls, 2006
1435

Price Upon Request

William S. Burroughs
Shot Sheriff Series, Nasty young Cop, 1992
1142

Figure painted in black acrylic. Titled, signed and dated with pencil on sketchbook page. 24 x 18 inches. No gunshots

Price Upon Request

Jean-Marc Bustamante
Maisons Pour Insomniques, 2003
2041

vol. 1 Jean-Marc Bustamante photographs Mario Bellatin text Konstantin Grcic case The photographs, taken in 2003, during one of Jean-Marc Bustamante’s travels in Uruguay, are the outgrowth of a recent projects-in-the-works by the artist, Something is Missing, which carries the leitmotiv of journeying and wandering freely. The five photos chosen for the work form a compact module directed toward livable and lived in spaces, houses for insomniacs. Here Mario Bellatin is striving for a reconstruction of Kafka’s Metamorphosis, evoking a single episode for each house, a topographical insomnia. The designer Konstantin Grcic chose black foam 10 cm thick for the casing, burning its surface to achieve the effect of access routes and tight asphalt turns – the photographer’s favorite theme. The text appears in blocks of varying sizes of type whose outline forms a border inspired by the drawings of houses. Jean-Marc Bustamante Jean-Marc Bustamante was born in Toulouse, France, in 1952. From 1977 to 1982, he produced more than 130 photo canvases–landscapes of the outskirts of Barcelona– exhibited for the first time in 1994 at the Kunsthalle in Berne. His work has been exhibited in numerous museums, most notably at La Galerie Nationale du Jeu de Paume in Paris. In 2003, he represented France at the Venice Biennial. Mario Bellatin Mario Bellatin was born in 1960 in México City where he currently lives. He had his first five books published in Perú. His work, translated into German, English and French, is as difficult to decipher as his biography, a life he likes to invent through the course of his various interviews and encounters. His writing, infused with the Japanese aesthetic and photography, stands out for its radical minimalism. Konstantin Grcic Born in Germany in 1965. After his studies at London’s Royal College of Art, Konstantin Grcic worked in Jasper Morrison’s studio before moving to Munich where he opened his own agency in 1991. His modular furniture, developed over the last few years mainly for Classicon and Magis, are among the designs that make him a major figure in contemporary design. In 2001, he received the Compasso d’Oro for his lamp Mayday. Description: 5 original signed photographs (chromogenic prints), set in photo-corners Case made of foam and plastic sheets 58,5 x 43 x 10,8 cm Text in Spanish and French Limited edition of 30 copies October 2003 Graphic design: Olivier Andreotti

Price Upon Request

Jean-Marc Bustamante
Lumieres, 1994
1965

From 1987-93 Bustamante started a new series, 'Lumières', which are large black and white photographs, silkscreened onto plexiglass, and hung with four metallic hooks which maintain the image at a distance of about 10cm from the wall. The effect obtained is that the image is both projected onto the wall and reflected in the plexiglass - hence disturbing the viewer's vision. The viewer is confronted with an inderterminate space which cannot be focused on properly. In the most recent series 'Aérogrammes'(1997) and 'Panoramas'(1998) the artist begins to explore a similar effect of uncertainty between space and surface - architecture and photography - with monochromatic colours and drawing.

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

Harry Callahan
Color, 1980
1603

Inscribed, "For Lee Witkin, Harry Callahan".

Price Upon Request

Sigrid Calon
screening, 2015
8172-BK

6 5/8 x 8 3/4 in. (17 x 22.5 cm)

sigrid calon+ Willem Van Zoetendaal

Artists-Booklet made in collaboration with photobookman Willem Van Zoetendaal.



Portraits from the Van Zoetendaal Archives, printed offset

Over the offset Sigrid risoprinted her graphical language



32 pages

Japanese folded, wire-O-binding



You can choose your own front page

Comes in a paperbag



Limited edition n 113 of 180; Signed & numbered (on the inside of the 'last' page)

Price Upon Request

Sigrid Calon
Letters become patterns, 2014
8242-BK

6 3/8 x 7 1/4 in. (16.5 x 18.5 cm)

Within the grid and beyond the pattern.

compositions in form & colour

stencilprinted on RISO.

Display copy n 000

Price Upon Request

Sigrid Calon
QWERTY, 2014
8262-BK

12 1/2 x 9 3/8 x 34 in. (32 x 24 x 2 cm)

Every key of your keyboard on a page

made with my own TypeFace



Risograph printed on 90 grams paper

spiral bounding , 70 pages

Limited edition 000 of 375 ; signed

display copy

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

Sigrid Calon
To the extend of / \ | & -, 2012
8222-BK

6 5/8 x 8 5/8 x 1 1/8 in. (17 x 22 x 3 cm)

Within the grid and beyond the pattern.

120 compositions in form & color, stencil printed on RISO.

This work arose out of Calon’s fascination with a grid; an embroidery grid, to be precise, with a minimal basic grating of 3 x 3 dots. With these dots, eight different (embroidery) stitches can be made.

When processed by the computer the stitches become lines and new graphic possibilities arise.

Lines can be repeated or joined to form a longer line. Lines can be rendered with outline or without.

Lines can be reproduced as form or as in-between form.

Lines and in-between forms can be put on top of, one another in layers.

Eight colors are employed in various combinations, with each combination appearing only once, generating 48 two-color combinations and 56 three-color combinations. Four-color combinations yield 72 options.

Signed and numbered.

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

Mario Carrieri
MIlano, Italia, 1959
3785-BK

11 3/8 x 10 1/8 in. (29 x 25.8 cm)

135 black-and-white photographs printed in gravure, design by Giulio Confalonieri, Ilio Negri and Giuseppe Trevisani. . First edition. Carrieri was a leading photojournalist and cinematographer associated with the Italian neorealists. He was influenced by William Klein's 'Life is Good & Good For You in New York' and shared a similarly raw view, though his layout is slightly more restrained. Carrieri spent time photographing in the suburbs as well as in the centre of Milan, focusing his attention mostly on the less glamorous working side of this hard Italian city. 'One of the most important works of the neo-realist tendency of the 1950s' (Parr). In the same year as Milano, Italia, Klein published his own impressions of Italy in Rome: The City and Its People. [Parr, M. and Badger, G., The Photobook: A History Vol.I, p.214].

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

Enrico Castellani
ESTROFLESSIONE, 1968
7113-BK

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

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

Price Upon Request

Giuseppe Cavalli
Immagini, Volume 1, 1946
4366-BK

Portfolio of 20 prints, published by the Istituto Italiano Arti Grafiche, Bergamo

Price Upon Request

Giuseppe Cavalli
8 fotografi italiani d'oggi, 1942
4368-BK

9 1/4 x 7 7/8 in. (23.5 x 20 cm)

Bergamo: Istituto Italiano D'Arti-Balocchi Vincenzo; Cavalli Giuseppe; Faccini Walter; Finazzi Mario; Franchini Stappo Alex; Leiss Ferruccio; Marelli Ermanno; Vender Federico

Price Upon Request

Carla Cerati
Mondo Cocktail 61 fotografie a Milano e una nota di Maria livia Serini, 1974
3437-BK

7 1/2 x 4 7/8 in. (19 x 12.5 cm)

edition Pizzi, Milan.

Price Upon Request

Cesar
Rétrospective des sculptures. Overzichtstentoonstelling van sculpturen. with 9 cadrages sur César., 1976
2332

9 5/8 x 9 7/8 in. (24.5 x 25 cm)

Limited edition. 2 volumes. pages: (Vol.I): 132. (Vol.II): 9 (folded plates). illustrations: b/w. bound with screws, 25 x 21 cm. Traveling exhibition: Grenoble, Knokke, Rotterdam, Paris. Second volume: 9 cadrages sur César: Photographie: Carrara. Tiré à la main. Numbered copy, signed by the artist. Text in French and Dutch. Very good copy. artists monographs sculpture art after 1940 photography

Price Upon Request

Marc Chagall
The Story of Exodus, 1964
188

Folio. 24 original lithographs in colors by Chagall. Loose as issued in publisher's box. One of 20 copies on Japon Nacre, with frontispiece and the Justification page signed.

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

Marc Chagall
Les Sept péchés capitaux (Seven Deadly Sins), 1926
4235-BK

10 x 3 1/2 in. (25.5 x 9 cm)

15 etchings and one etching printed in sanguine, with two additional suites of the 15 etchings printed in sanguine (one on China paper and the other on Japan paper), with an original pen and ink sketch for one of the etchings. The text contains essays by Jean Giraudoux, Paul Morand, Pierre Mac Orlan, André Salmon, Max Jacob, Jacques de Lacretelle, and Joseph Kessel. Publisher: Simon Kra, Paris. Printed by Louis Fort. This is one of 15 deluxe copies on Japan paper, from an edition of 300. Numbered 4 on the justification with the drawing.

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

J. Chauvin
Algues de La Normandie, 1831
665

7 books all with printed covers and containing an index of the specimens listed.175 mounted specimens with letterpress titles. An early seaweed album excecuted with perfection and preserved in very fine condition.

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

Giorgio de Chirico
Mythologie, 1934
4252-BK

12 1/4 x 9 1/4 in. (31 x 23.5 cm)

Paris: Éditions les 4 chemins
Printed calligraphic title, ten leaves of printed calligraphic text and colophon, text by Jean Cocteau; the text is lithographed from the author’s manuscript. 10 lithographs, nine hand-colored by de Chirico. Loose sheets in cream paper portfolio. This copy has a dedication and includes a drawing by Cocteau, dated 1949, on the title page. This author’s copy (H.C.) lacks signatures on the plates; the one uncolored plate is numbered 116.
Copy no. 114 of 130

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

Freres Crouan
Algues Marines du Finistere, 1852
407

404 different seaweed specimens represented from Marine Algae in these 3 volumes: Fucoidees, Floridees, Zoospermees. The specimens are pressed on the sheet with a seperate letterpress card with Genera. This fine set is complete and in very fine condition.Bound as published in 1/2 Leather.

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

Salvador Dali
Don Quixote de la Mancha, 1957
1745

17 5/8 x 12 1/2 in. (45 x 32 cm)

With 12 color lithographs. This Don Quixote trilogy is comprised of Don Quixote: The Warrior's Heard, Don Quixote: The Gift of Mandrino, and The Story of Don Quixote. In this trilogy Dali depicts Don Quixote, Cervantes' idealistic Spanish nobleman who fancied himself a knight fighting the world's injustices; he saw flocks of sheep as enemy armies, and served the causes of truth and beauty. It has been said that Don Quixote's quest was an allegory of the eternal search for goodness and truth, with an idealism that appeared to be madness in a world that sometimes viewed heroism and love as a form of insanity. How interesting Dali must have found this satirical romantic!

Price Upon Request

Salvator Dali
Don Quixote de la Mancha, 1957
1745

With 12 color lithographs. This Don Quixote trilogy is comprised of Don Quixote: The Warrior's Heard, Don Quixote: The Gift of Mandrino, and The Story of Don Quixote. In this trilogy Dali depicts Don Quixote, Cervantes' idealistic Spanish nobleman who fancied himself a knight fighting the world's injustices; he saw flocks of sheep as enemy armies, and served the causes of truth and beauty. It has been said that Don Quixote's quest was an allegory of the eternal search for goodness and truth, with an idealism that appeared to be madness in a world that sometimes viewed heroism and love as a form of insanity. How interesting Dali must have found this satirical romantic!

Price Upon Request

Honore Daumier
Les Robert Macaire, 1836-1838
911

1 3/8 x 10 7/8 in. (3.5 x 27.5 cm)

100 hand colored lithographs with water color and gum arabic. Robert Macaire was the main character in a five-act play entitled, L’Auberge des adrets, which was first performed in 1823. The play suffered terribly on opening night, but thanks to the ingenuity of the actor Frederick Lemaitre and some major revisions, it soon became quite popular. Frederick Lemaitre turned the character into a proud, confident, and devious swindler. The Macaire that appeared on the stage, and the one that would appear over a decade later in Daumier’s prints was the epitome of the self-absorbed, self-promoting crook. He represented all of society’s ills in a clownish but pointedly cynical way.

Price Upon Request

Milagros De La Torre
Troubles de la Vue, 2005
808

vol. 2 Milagros De La Torre photographs José Manuel Prieto text Pierre Charpin case This is the first time Milagros De La Torre has approached the field of color photography. For a whole year the artist kept a record of the different bruises – accidental she points out – she detected on her body. She opted for close-up framing in order to reinforce their plastic quality. What they form appears to be sensual and abstract landscapes. Echoes of such a landscape resound in José Manuel Prieto’s text which describes the private love of someone whose sight is diminishing—the metaphysical disorder that comes with his infirmity.

We called upon Pierre Charpin because we felt he would be most apt at entering into dialogue with the artist and the author, being particularly sensitive to the metamorphic quality of their language. The casing is made up of two shells in molded plastic that are fitted together with magnets. The text flows in an oblong shape that requires a circular reading–especially fitting to the nature of José Manuel Prieto’s prose. Milagros De La Torre Born in Lima, Peru, in 1965. Milagros De La Torre lives and works in New York. Her work has appeared in a number of personal exhibitions: Palais de Tokyo (Paris, 1993), Universidad de Salamanca (1997), Museo Carrillo Gil (1999). Most notably her works are featured in the collections of the Museum of Fine Arts (Houston), Fonds national d’Art contemporain (Paris), Museo Nacional Centro de Arte Reina Sofia (Madrid)… José Manuel Prieto Born in Cuba in 1962, José Manuel Prieto lived in Russia for twelve years. He teaches literature in New York where he lives with his family. His first novel, translated into French, Papillons de nuit dans l’empire de Russie, was published by Christian Bourgois in March 2003 and is already considered a classic in Hispano-American literature. 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: 5 original signed photographs (chromogenic prints), set in photo-corners Case made of painted molded plastic 38 x 33 x 3,8 cm Text in Spanish and French Limited edition of 30 copies November 2003 Graphic design: Olivier Andreotti

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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

Degas
Les Monotypes, 1948
4253-BK

12 x 9 in. (30.5 x 22.9 cm)

text by Denis Rouart 636/1000. DEGAS,Edward. [1834 - 1917] Rouart, Denis.: E.Degas MONOTYPES text by Denis Rouart. , Paris QUATRE CHEMINS-EDITART-PARIS [1948]. A bound volume of the Numbered Limited Edition of 1,000 copies, this being Exemplaire No 788 Of 40 plates [executed c1880-1833] of which 10 are in colour. Printed on water marked " Marais" paper, the monochrome plates are evenly browned as usual to varying degrees. Small folio 12"x9" with Ballet plate facing the half title and frontis portrait. 40pps plus plate list and colophon stating "Not to be introduced into the USA" Originally issued in wrappers the early binding has nicely protected the plates and perhaps discouraged its breaking.

Price Upon Request

Wim Delvoye
seXrays, 2006
1737

12 x 8 3/4 in. (30.5 x 22.5 cm)

Luxembourg. Beaumont Public. 2002.
80 pages. With 25 reproductions on clear acetate of the X-rays, which were printed on aluminum.. Publisher’s spiral binding within printed boards. Black soft rubber end leaves. Published to accompany a 2002 exhibition in Luxembourg of Wim Delvoye’s s eXrays. Delvoye, with the help of a radiologist, had several of his friends paint themselves with small amounts of barium and perform explicit sexual acts in medical X-ray clinics. When he was not an active participant, Delvoye observed from a computer screen in another room, allowing the subjects enough distance to perform uninhibted, although Delvoye has described the whole operation as “very medical, very antiseptic.
With German text by Peter Bexte "Die Göttliche Komödie der seXrays", and a French text by Olivier Goetz "seXrays de Wim Delvoye: Un rayon de bonheur". Complete with the 15-page English translation bound in at the back.

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
On The Beach-Morocco 2006, 2006
3548-BK

66 pages ; edition 36, numbered and signed. Title-page and 33 pages each with a photo in colour, back-page with imprint, numbering and signature, japanese binding, in white cardboard box with title on spine. 32 × 21 × 2.7 cm

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.

Price Upon Request

Artistes Divers CONTEMPORARY
Kalendar 69, 1969
5962-BK

(19 x 14 cm)

Price Upon Request

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."

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Artistes Divers CONTEMPORARY
Kalendar 65, 1965
5942-BK

(19 x 14 cm)

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Artistes Divers CONTEMPORARY
Kalendar 63, 1963
5952-BK

(19 x 14 cm)

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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.

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Artistes Divers DA
Dessins. Librarie des Arts Decoratifs, 1920s
353

20 different and unusual pochoir designs by 10 different artists; Alexandra Bitchkova, Yvonne Bouchaud, Alexey Brodovitch, Jacques Camus, Marianne Clouzot, Serge Gladky, Boris Laroix, Okolow, Tchimoukow, and Henry Valensi.

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Artistes Divers DA
Neue Modernen Firmenschilder, 1909
398

Portfolio of new and modern collection of Trademarks from the time period. Complete with 64 colored plates

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Artistes Divers DA
Amtlicher Katalog: Ausstellung Des Seutschen Reichs, 1904
1436

This is a catalogue in German to commemorate the World Fair of 1904 known as the Louisiana Purchase Exposition held in St. Louis Missouri.

Price Upon Request

Artistes Divers DA
Formenwelt aus dem Naturreiche, 1904
973

2 Leaves, 71 Photographic plates of flowers, trees, insects, shells etc. laid out in pattern designs.

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Artistes Divers DA
Le Carton du Peintre Decorateur, 1900
1001

36 plates in color, The designs show decorative paint designs for walls and ceilings, some heightened with gold.

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Artistes Divers DA
Modern Wande und Decken Dekoration, 1900
347

2 volumes with 128 pages of German wall and ceiling decoration in fantastic Chromolithography. These were painting manufacturers catalogues for craftsmen who would be able to copy the designs shown as well as order the actual paint colors being shown. The back of each volume shows what paint colors were used for each design on each page.

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Artistes Divers DA
Motifs inedits pour toutes Industries d'Art 4e serie
315

Studio d'Arts Decoratifs. Folio containing 8 color pochoir plates each with 5 to 6 different designs on each page. Missing 1 color plate to be complete.

Price Upon Request

Artistes Divers DA
Ornements pour le Batiment
444

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

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Artistes Divers JAP PH
Hibi, 1971
1924

Shigeo, Gocho and Masao, Sekiguchi. First edition

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Artistes Divers JAP PH
Minox Print Album. Photograph Album Documenting Primarily Manufacturing Packaging Areas at Various IBM Facilities., 1966
3718-BK

9 1/2 x 5 7/8 in. (24 x 15 cm)

International Business Machines, 1966. First Edition. Hard Cover. Very Good A collection of photographs, primarily 3 x 4 inches, in an old Minox Print Album, documenting various IBM facilities, mostly related to final packaging of equipment. The album sleeves are coming apart, and would benefit from relocation into another format. The photos themselves are generally in good shape with good contrast. We left them in this album to preserve their order. A few images have been removed (if ever there). First section marked "IBM Poughkeepsie, September 1966", 30+ images, including many cardboard boxes after final closure with names like Friden, Doehler-Jarvis Division, Arden Farm and IBM. One appears to be a punch-card machine read to go. Next section marked "IBM Lexington, September 1966", 32+ images, including images of styrofoam like packaging, and images include typewriters (some on the end of a conveyor line), some marked IBM Electric Typewriter and IBM Selectric, some in and out of boxes. This section appears to show final packaging and how it was done - what we think are air guns, various cardboard/styrofoam packaging components, some people processing typewriters off the line, etc. The next section is marked "IBM Endicott, September 1966", 20+ images, some boxes marked "IBM Systems Manufacturing". We see what appear to be high-speed line printers, reel-to -reel tape drives, and smaller terminal printers in this group. There is also a pocket in rear with some very small negatives (a quick view appears to be more than half family images, with a few that might be manufacturing related, though what and where we can't tell. Perhaps these are clues to the owner if blown up to viewable size. In our experience photograph albums that document any portion of the computer industry are scarce on the market. These don't appear to be professional images (some of the images aren't exactly complementary from a packaging perspective) and are likely to have been taken by someone who worked there or a tour group member.

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Artistes Divers JAP PH
Rokkor Magazine by Minolta, 1955-1958- 1973-1983
3727-BK

Near complete(29 issuse minus n. 25,27,28 missing) + 1973 to 1983 complete (109 issues)=145 issues on 148. Complete Review in original general folder-cases made in grey cardboard and linenprinted Rokkor in the back. All in excellent shape.

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Artistes Divers JAP PH
FRONT: Dai Toa Kensetsu Gaho, 1942-45
2077

Kimura, Kanzano, Sekiguchi, Nishino, Sakaguchi. Front is a tour-de-force of design and photography: Essentially a propaganda magazine it was intended for foreign audiences and presumably distributed to embassies. It was apparently published in fifteen languages. Ironically the magazine was modelled on the famous publication 'USSR in Construction' which was designed by El Lissitzky. Front was a propaganda magazine intended for foreign audiences launched by Tohosha, a publishing company established by members of the International Press Photography Association, at the behest of the army General Staff office with funding from private corporations. A large-format pictorial magazine, it was produced in fifteen languages and distributed to the countries of the Greater East Asia Co-Prosperity Sphere. Each issue was devoted to a particular subject (e.g., the navy), and montage was used int he layout (in a manner similar to USSR in Construction, the Soviet Union's propaganda magazine). Hara Hiromu was in charge of design and Kimura Ihee of photography; Kikuchi Shunkichi, Hamaya Hiroshi, and Sonobe Kiyoshi contributed photographs. Toward the end of the war the magazine moved to the building that housed Mojima Yasuzo's photography studio, but the offices were destroyed in an air raid in 1945, along with the "Tokyo at War" issue, which had just been printed and remained undistributed. Altogether, nine issues were published. After the war, the staff set up a short-lived publishing company, Bunkasha. A facsimile edition of Front was published in three volumes in 1989-90.

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Artistes Divers MODERN
Paroles Peintres IV, 1970
2

Portfolio with 7 original etchings in color, each with poems by a contemporary writer. Folio, loose in printed wrappers with cloth slipcase. Extra suite of the etchings, each signed by the following artists: Debre, Tapies, Tal-Coat, Reynols, Matta, Lepatre and Henry Moore.

Price Upon Request

Artistes Divers MODERN
Paroles Peintres I, 1962
3

Portfolio containing 14 original graphics, each accompanied by poems of a contemporary writer. Folio loose in printed wrappers and cloth slipcase.

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Artistes Divers MODERN
Poetes Peintres Sculpteurs, 1960
1452

Chagall, Miro, Braque. With original lithographs of George Braque, Marc Chagall, Joan Miro, Alberto Giacometti, Raoul Ubac, Jean Bazine, Eduardo Chillida, Pablo Palazuelo, Pierre Tal-Coat, Francois Fielder and Alexander Calder and lithographs after works of Fernand Leger and Wassily Kandinsky.

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Artistes Divers MODERN
Derrierre Le Miroir 10th year edition- 1946-1956, 1956
95

Contains original Chagall double page lithograph & original cancelled etchings by Miro and Giacometti.

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Artistes Divers MODERN
Artistes Libres. Premiere Serie Du Bibliotheque De Cobra, 1950
749

Complete set in 15 fascicules, each 16 pages representing a different CoBrA artist, with texts in Danish and b&w photo-engraved plates. Each front cover is an original lithograph, 13 of the 15 lithos are in bright colors. Artists presented: Pierre Alechinsky, Else Alfelt, Karel Appel, Jean Atlan, Ejler Bille, Constant, Corneille, Jacques Doucet, Sonja Ferlov, Stephen Gilbert, Svavar Gudnason, Henry Heerup, Egill Jacobsen, Asger Jorn, Carl-Henning Pedersen. Contributing texts by: Edouard Jaguer, Christian Dotremont, Michel Ragon, Jean Laude, et al. Included also is 2-page foldout with the title, contents and introductory text by Asger Jorn. All housed in a fragile paper case with a color-lithographed design. The 15 fascicules are in perfect condition, the case with a couple of very insignificant creases and one flap slightly repaired; a far better than average copy. This "experimental art encyclopedia" is a historically very important document on the CoBrA art movement.

Price Upon Request

Artistes Divers MODERN
Solidarite, 1938
1648

Poeme de Paul Eluard. Gravures by Picasso, Miro, Tanguy, Masson, Wright, Husband and Hayter. Paul Eluard. Each etching signed by the artist. Loose in gray laid paper-covered boards with black cloth spine and tie strings.

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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.

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Artistes Divers OLD & RARE
Les Voitures Renault, 1937
3767-BK

14 3/8 x 10 in. (36.5 x 25.3 cm)

[Reinastella, Vivastella, Monastella]. (Paris, Draeger & Frères imprimeurs, circa 1929). Oblong 4to, publisher's white portfolio, outer ruling in black and white, upper side with embossed metal pieces of Renault's emblem and a small star, blue paper doublures with geometrical design in black. Unpaginated. (30)pp. 4 colour illustrations in the text and 12 superb colour plates showing luxury cars on a black background. Complete. First and only edition of a supremely elegant piece of advertising for «the happy few». One of Draeger's finest productions for the celebrated French car-maker. Uncommon. Excellent copy.

Price Upon Request

Reinhard Dohl
Bedepequ, 1967
5922-BK

12 9/16 x 13 3/8 in. (32 x 34 cm)

Edition Hansjorg mayer, Stuttgart, Germany

Copy n 18 of 200

Price Upon Request

Peter Downsbrough
And, 1995
3711-BK

7 1/8 x 5 3/8 in. (18 x 13.5 cm)

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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.

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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

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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

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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.

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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.

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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.

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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

Christopher Dresser
Studies in Design, 1874 - 76
638

Folio, gilt decorated red cloth; [4], 40pp & 60 plates (57 chromolithographic), most tissue guards extant. A very fine copy!

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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

Marcel Duchamp
Bewogen Beweging, Moving Movement, 1961
1665

The occasion was a famous exhibition of avant-garde art in Amsterdam in 1961, 'Bewogen Beweging' (Moving Movement.)

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Marcel Duchamp
Marchand du Sel, 1958
2232

5 7/8 x 8 7/8 in. (15 x 22.5 cm)

Writings of Duchamp, includes two page glassine foldout La Mariee a Nu par ses Celibataires. Uncut in very fine condition. 1 of 40 copies signed by Duchamp.

Price Upon Request

Marcel Duchamp
Cahiers'Art Vol XI -Coueurs Volants (Floating Hearts), 1936
2207

9 5/8 x 12 3/8 in. (24.5 x 31.7 cm)

The art magazine edited by Christian Zervos featured the Large Glass in 1936. The cover consists the contrast of two complementary colors, that is, red and blue. Staring at this cover,the blue color part is sunk and the small heart at center floats in blue back. The pursuit of such a illusional visual eftect was Duchamp's life-time theme.

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Marcel Duchamp
La boîte verte. La mariée mise à nu par ses célibataires, même (The Green Box. The Bride Stripped Bare by Her Bachelors, Even), 1934
7552-BK

13 x 11 x 1 in. (33 x 28 x 2.5 cm)

One color plate and 93 documents (reproduced in facsimile in the collotype printing plants of Vigier et Brunissen, Paris) box, lined in green silk. 265 of edition of 300. Signed and dated in orange inside box spine. Provenance: Aaron and Barbara Levine.

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.

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William Eggleston
5 x 7
1401

Price Upon Request

Eisenstaedt
REMEMBRANCES
1837

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

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Jean Ellis
Essai sur l'histoire naturelle des corallines et dáutres productions marines du même genre, quón trouve communement sur les cotes de la Grande-Bretagne et dÍrlande;…, 1756
619

Essai sur l'histoire naturelle des corallines et dáutres productions marines du même genre, quón trouve communement sur les cotes de la Grande-Bretagne et dÍrlande; auquel on a joint une description dún grand polype de mer, pris auprès du Pole Arctique, par des pêcheurs de baleine, pendant l''été de 1753.

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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Hans Erni
LEOPOLD SEDAR SENGHOR. TERRE PROMISE D'AFRIQUE, 1966
4238-BK

18 7/8 x 15 3/8 in. (48 x 39 cm)

Bibliographic information QR code for Terre promise d'Afrique. Terre promise d'Afrique: Symphonie en noir et or Léopold Sédar Senghor.Hans Erni. André et Pierre Gonin, 1966. 149 pages. Senghor, Léopold Sédar. Terre Promise d'Afrique. 17 color lithographs by Erni. Oblong folio, beautiful mulberry morocco with abstract pictorial design based on frontispiece image, with brown, turquoise, gold, black, and white onlays on both front and rear covers, author and artist's names in white along spine, by Legatoria Artistica Ascona; original pictorial wrappers bound in; suede-lined morocco-backed faux bois covered chemise and matching slipcase. number 85 of 123 copies signed by erni and the editor, Pierre Gonin, on grand vélin d'arches from a total edition of 180. Cramer 39; Cailler 387-390.>Lausanne: André and Pierre Gonin, 1966

Price Upon Request

Max Ernst
Histoire Naturelle, 1972
1138

With plates 13, 17, 28, 33 signed "Max Ernst" and missing plate #32 - incomplete lacking one plate. with tape on the back of one print.

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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

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Max Ernst
Almanach Surrealiste du Demi-Siecle. Numero Special de la Nef., 1950
2228

One of only 65 copies printed, with two colour lithographs by Ernst. Compiled by Breton and Péret, the Calendrier tour du Monde des Inventions Tolerable is an ingenious and witty look back at great discoveries from the whimsical to the monumental. Signed on the colophon by both Breton and Ernst. Guggenheim Museum, Max Ernst: A Retrospective 263.

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.

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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

M.C. Escher
Regelmatige Vlakverdeling (Regular Division of the Plane), 1958
9522-BK

13 3/8 x 10 in. (34.1 x 25.5 cm)

Published by De Roos Foundation, Utrecht, Holland. 45 pages with six original woodcuts in black on gray wove paper, bound in cloth, including a separate suite of 6 plates in sanguine. Reference: Bool 1981, no.416–State 421.

Price Upon Request

M.C. Escher
De vreeselijke avonturen van Scholastica (The Terrible Adventures of Scholastica), 1933
9502-BK

12 5/8 x 9 3/8 in. (32.1 x 23.9 cm)

Published by C.A.J. van Dishoeck, Bussum, Holland.

Copy 274 from the regular edition of 288, containing 18 original woodcut prints by M.C. Escher (6 full-page plates, 10 majuscules, 1 tailpiece) and text by Jan (Johannes Lodewijk) Walch about the witch of Oudewater. Reference: Bool 1981, no. 88, State–205.

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.

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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.

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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.

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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.

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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

Constantin Ritter von Ettingshausen
Pflanzenfossilien von Radoboj., 1896
611

With 1 nature printed plate. Not in Fischer.

Price Upon Request

Constantin Ritter von Ettingshausen
Die Formelemente der europäischen Tertiärbuche, 1894
540

With 4 nature printed plates. Fischer No. 65

Price Upon Request

Constantin Ritter von Ettingshausen
Über tertiare Fagus-Arten der sudlichen Hemisphare, 1891
612

With 1 nature printed plate. Not in Fischer.

Price Upon Request

Constantin Ritter von Ettingshausen
Über fossile Banksia-Arten irhe Beziehung zu den lebenden., 1890
613

With 2 nature printed plates. Not in Fischer.

Price Upon Request

Constantin Ritter von Ettingshausen
Zur Teriarflora von Borneo., 1884
608

With 1 nature printed plates. Not in Fischer!

Price Upon Request

Constantin Ritter von Ettingshausen
Beiträge zur Kenntniss der Teriarflora der Insel Java., 1883
605

With 6 nature printed plates. Not in Fischer!

Price Upon Request

Constantin Ritter von Ettingshausen
Beiträge zur Kenntniss der Teriarflora von Sumatra., 1883
607

With 1 nature printed plates. Not in Fischer!

Price Upon Request

Constantin Ritter von Ettingshausen
Uber die Blattskelette der Loranthaceen., 1871
527

With15 nature printed plates. Fischer No.60

Price Upon Request

Constantin Ritter von Ettingshausen
Beiträge zur Kenntniss der Flächen-Skelete der Farnkräuter., 1864
468

With 18 nature printed plates. Fischer No. 55.

Price Upon Request

Constantin Ritter von Ettingshausen
Photographisches Album der Flora Österreichs., 1864
469

Photographic album of the Flora Austria. With 173 nature printed plates. Fischer No.56.

Price Upon Request

Constantin Ritter von Ettingshausen
Physiographie der Medicinal-Pflanzen nebst einem Clavis zur Bestimmung der Pflanzen mit besonderer Berücksichtigung der Nervation der Blätter., 1862
535

With 15 nature printed plates. Fischer No. 53.

Price Upon Request

Constantin Ritter von Ettingshausen
De Blatt-Skelette der Dikotyledonen mit besonderer Rücksicht auf die Untersuchung und Bestimmung der fossilen Pflanzen., 1861
467

With 95 nature-printed plates and 276 text-illustrations (physiotypes). Unbound in the original half leather box. xlvi, (1), 308 pp. Fischer 51; Nissen, BBI 609; Stafleu & Cowan 1724.

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Constantin Ritter von Ettingshausen
Bericht über das Werk Physiotypia Plantarum Austriacarum, 1856
536

Report on the work Physiotypia plantarum austriacarum. With 10 nature printed plates. Fischer No. 45

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Luciano Fabro
Ogni ordine e contemporanea d'ogni altro ordine: quattro modi

d'esaminare la facciata del ss. Redentore a Venezia. (Every Order is Contemporaneous of Every Other Order: Four Ways of Examining the Façade of the SS. Redentore in Venice), 1972-73
7862-BK

36 x 27 7/8 in. (91.5 x 71 cm)

Silkscreen folio in cardboard dust jacket

59 tables

Edition n 55 of 120 copies signed and numbered.

Printed by Alfredo and Enrico Rossi.

Published by Alfredo and Enrico Rossi with the artist



This work is a screenprinted line drawing of the façade of SS Redentore with three variations on the proportions invented by Fabro. Each part is accompanied by a sheet printed with a small image of the façade depicted in that part and there is a sheet headed ‘Sinottica degli insiemi e delle proporzione’ with small images of all four; there is also a title page bearing the artist's signature and those of the printers.



Translation of the Preface:

Dante, in the Convivium, indicates the reading of works of art according to four senses or interpretations: the literal, the allegorical, moral, anagogical.

I built this work because it is readable parallel along these ways. Each order is contemporary of every other order: I translated The co-planarity in contemporaneity. I have broken down the three architectural orders of the facade of the SS. Redentore as if Palladio had kept them in the wild, varying from time to time the spatial dislocation: this is well readable by the proportion of the statues that adorn the facade and which have been replaced, for placing in niches:

Adam and Eve of van Eyck, higher, far from each other:

a man with a layer against the spade (Piero della Francesca) from Venus by Canova;

at its height, in the triangle of ethics, Christ of El Greco who points Aesop by Velasquez, while to the opposite corner, a woman (Michelangelo) turns her back, in the act of getting away.

Abuse of the philological method in the examination of the facade of SS. Redentore.

It cannot have a genuine love of order without the denial of the order.

Every problem is a will.

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Jean Fautrier
Lespurgue, 1942
2233

14 3/8 x 15 1/8 in. (36.5 x 38.5 cm)

Fautrier’s illustrations are lithographs printed by the Mourlot brothers, both figurative and sculptural in design. The love poem Lespugue, dedicated to Leona Jeanne, is made up of 18 stanzas of 8 lines, two of which diverge typographically due to the last two lines being split across two pages; this first happens at the moment when the poet sees words light up around him and his lover, and he pushes her knees apart, ‘trembling with tenderness’. The second occurrence is when he wonders where his lover ends: she converges with the landscape, the din of the mountains and the blooming limes. Curves and snakes, light and mother-of-pearl, shadows and earth: Ganzo’s world always sparkles.

Price Upon Request

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

4 5/16 x 5 7/8 in. (11 x 15 cm)

Feinstein altered a 19th century Victorian album containing mounted specimens of seaweed by adding fragments of erotic black and white photographs. She manipulates the given objects and photographs as collages that provoke voyeuristic associations. A poem on one page, nine pages of images. Unique.

Published by Edition Matthew Zucker, New York

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

Robert Filliou
Hand Show, 1967
1909

11 3/4 x 9 3/8 x 1 1/2 in. (30.1 x 24.1 x 4 cm)

Wood box with sliding plexiglass lid comprising a folder containing 25 photographic reproduction sheets on card, showing in close up the left hand of various artists including Andy Warhol, John Cage, Christo, Roy Lichtenstein, Arman, Jasper Johns, Ray Johnson, Alison Knowles, and others. The plexiglass cover is imprinted with a silkscreened palm covered with annotations in red. Text by artist in German. Published by Edition SABA-Studio, Villingen, Germany. In perfect condition; increasingly scarce as each contribution belongs in the oeuvre of the respective artist. Signed and numbered in red inside back cover. Edition of 150 copies

Price Upon Request

Robert Filliou
Je Disais A Marianne, I was Telling Marianne, 1965
4833-BK

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

Edition Mat Mot n. 2

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