Search Results

Glithero Studio
Kelp Vase, 2012
13132-OR

19 5/8 x 17 1/4 x 17 1/4 in. (50 x 44 x 44 cm)

Unique silver gelatin impression on hand turned porcelain

Price Upon Request

Glithero Studio
Seaprint A Dyptich, 2012
13175-PR

77 7/8 x 25 1/2 in. (198 x 65 cm)

cyanotype artwork in two parts

Price Upon Request

Miyakoshi Seinosin
Honbafukizuri, 1862
13212-OR

16 7/8 x 17 5/8 in. (43 x 45 cm)

Nature Print of Petasites Japonicus, also known as Butterbur.
leaves on cloth. Very rare.

Price Upon Request

Matthew Zucker & Pia Östlund
Capturing Nature(Hardcover), 2023
13523-BK

9 1/8 x 13 x 1 in. (23.2 x 33 x 2.8 cm)

Price Upon Request

Matthew Zucker & Pia Östlund
Capturing Nature, 2022
13522-BK

9 1/8 x 13 x 1 in. (23.2 x 33 x 2.8 cm)

Price Upon Request

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.

Price Upon Request

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

Sold

Artist Collective
La Lune En Rodage *complete set, 1961
13346-BK

12 5/8 x 12 3/4 in. (32.3 x 32.4 cm)

Basel. Editions Panderma. 1961, 1965 & 1977.
3 volumes. Each volume bound in original hessian-backed printed imitation wood veneer, fastened with metal bolts. Each volume with a small bas-relief mounted on upper cover (Vol.1 - metal relief by Gio Pomodoro, vol.2 - plexi relief by Talman, vol. 3 - relief by Getulio Alviani).
The complete three-volume set of one of the most ambitious and important contemporary art portfolios of the post-war era. The volumes contain a combination of original and editioned works, and bring together many of the most cutting-edge avant-garde artists of the age, giving them the opportunity to work in mediums that in many cases they had not previously. The variety of original artwork ranges from drawings, gouaches, and collages, to graphics, photographs, sheets of letterpress text, music etc., with each work tipped onto thick card leaves of varying colors. The majority of the works are individually signed.
Artworks of note in the collection are Piero Manzoni's only editioned multiple (a cork print), a unique ‘concetto spaziale’ punched drawing by Lucio Fontana, Enrico Catellani's first multiple, a watercolor collage by Hundertwasser, a unique smoke drawing by Otto Piene, a unique torn collage by Jacques Villeglé, and other pieces by Arman, Jean Arp, Man Ray, Dieter Roth, and Victor Vasarely.
Each volume was published in an edition of 215 copies. Complete intact sets of La Lune en Rodage rarely appear, primarily because, just by their nature, the majority of copies have already been broken up for their constituent parts.
Volume 1: with 42 graphic works including engravings, gouaches, collages, drawings and photographs, including the original watercolour collage signed by Hundertwasser, 1 original signed painting in mixed media (gouache, pastel and charcoal) by Antonio Lino, one unique drawing by Lucio Fontana, dated and signed. Most of the other works are signed by the artists: Yoran Cazac, Bazon Brock, Carlo Belloli, Benjamin Péret, Toyen, Raymond Hains, Sigismond Kolos-Vary, Victor Vasarély, Piero Heliczer, Peter Vogel, Markus Prachensky, Herbert Schuldt, Humbert, Pierre Gripari, Hammarberg, Enrico Castellani, Hansjorg Mattmüller, Guerdon, Man Ray, Roberto Crippa, Eugène Ionesco, Francois Béalu, Onorio, P.A. Benoit, Meret Oppenheim, Renate Axt, Carl Laszlo, Lora, Bill von Bredow, Christianna Thias, Otto Piene, Rolf Fenkart, Heinz Mack, Esther Wirz, Bischof, Chr. Schmidt, Bischoffshausen, Enrico Baj, Herchenröder, Brauer, Hans Platschek, Rippstein, Franz Fedier, Arman, Nico Taratès, Fat Charrière, Milet, Jean Cocteau, Lucien Clergue, Arnulf Rainer, Childs, Wolfgang Hollegha, Josef Mikl, Nina Mayo, Peter Brüning, Bruno Munari, Jean Arp, Michel Cardenas, Rene Mächler, and Camille Bryen;
Volume 2: with 56 graphic works including etchings, gouaches, watercolors, collages and drawings, including 1 original collage signed by Walter Leblanc, 1 original collage signed by Hermann Goepfert, and 1 original drawing signed by Dieter Roth. Most of the works are again signed by the artists, who include Victor Vasarély, Hundertwasser, Friedrich Schröder Sonnenstern, Sigurd Kuschnerus, Walter Leblanc, Giuseppe Capogrossi, Edmondo Bacci, Genevieve Claisse, Hermann Goepfert, Christian Megert, Lucio del Pezzo, Zoltan Kemény, Hsiao Chin, Liliane Lijn, Dieter Roth, Giovanni Macciotta, Paul Wunderlich, Francois Dufrêne, Carl Reuterswaerd, Francisco Sobrino, Gianni Bertini, Thomas Bayrle, Hans Peter Alvermann, Gunther Uecker, Jacques Villeglé, Francois Morellet, Kassák, Lajos Weber, Rene Bertholo, Kaspar Thomas Lenk, Eduardo Alcoy, Alberto Biasi, Arnold Leissler, Piero Dorazio, Jean-Pierre Yvaral, and Carlo Belloli.
Volume 3: with 54 graphic works, most signed by the artists - includes works by Timm Ulrichs, Marcello Morandini, Erich Buchholz, Willy Müller-Brittnau, Floris Michael Neusüss, Thomas Ring, Christian Schad, Yves Laloy, Augustin Tschinkel, Imre Kocsis, Markus Raetz, Lajos Kassák, Getulio Alviani, Enzo Cacciola, Thilo Maatsch, Otto Nebel, Peter Stämpfli, Fifo, Edmund Kesting, Gianni Colombo, Jorrit Tornquist, Walter Dexel, Lou Loeber and Michael Ashur.

Price Upon Request

Alois Auer
Copper Plate for Nature Printing, 1856
13432-OR

17 1/4 x 11 3/8 in. (44 x 29.2 cm)

Copper plate used to print Auer's nature printing technique

Price Upon Request

Alois Auer
Copper Plate for Nature Printing, 1856
13561-OR

17 1/4 x 11 3/8 in. (44 x 29.2 cm)

Price Upon Request

Alois Auer
Copper Plate for Nature Printing, 1856
13562-OR

17 1/4 x 11 3/8 in. (44 x 29.2 cm)

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

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

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

Price Upon Request

Johstone, W. G., and A. Croall
The Nature-Printed British Sea-Weeds: A History, Accompanied by Figures and Dissections, of the Algae of the British Isles, 1859-60
482

9 3/4 x 6 7/8 in. (24.8 x 17.5 cm)

Price Upon Request

Arthur Mowbray Jones
Varieties of the British species of ferns (nature printed), 1876-1880
13202-BK

18 1/2 x 11 in. (47 x 28 cm)

Price Upon Request

Richard Cockle Lucas
Some of my studies in Nature-printing, drawings, and photography, 1871
13208-BK

Price Upon Request

Mario Merz
Fibonacci 1202, 1970
13140-BK

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

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

Price Upon Request

Mineralien
Eine Grosskornige Meteoreisn-Breccie von Copiapo., 1864
615

With 1 nature printed plate of a rare meteorite. Fischer No. 35

Price Upon Request

Mineralien
Das Carleton-Tuscon-Meteoreisen im K.K. Hof-Mineralien-Cabinete., 1863
614

With 1 nature printed plate of a rare meteorite. Fischer No. 32

Price Upon Request

Mineralien
Notiz uber das meteoreisen von Nebraska, 1861
552

With 1 nature printed plates. Fischer No. 28

Price Upon Request

Mineralien
Die hohlen Gesciebe aus dem Leithagebirge., 1856
551

With 1 nature printed plate. Fischer No. 27

Price Upon Request

Thomas Moore
The Octavo Nature-Printed British Ferns, 1859
481

9 3/8 x 6 1/4 in. (24 x 16 cm)

Price Upon Request

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

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

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

Price Upon Request

Adam Pendleton
Anthology #13, 2018
12162-BK

18 1/2 x 14 1/4 x 2 in. (47 x 36.2 x 5.1 cm)

Large folio with 200 compositions and a unique cover. Isolated photographs and fragments photocopied from the pages of books are layered with marks, dashes, patterns, shapes, and handwriting that frequently verges on abstraction. Each composition is unique, but many elements iterate and recombine throughout the series: masks, ceramics, phrases (“WHAT A DAY WAS THIS”; “IF THE FUNCTION”), and historical images related to modernism and decolonization in Africa. The book, which collates the works in chronological sequence, encourages readers to track these recurring components as they phase in and out across the book’s 200 pages. The compositions are directly related to Pendleton’s collages on mylar and the book translates and indexes these source collages which are usually printed on transparent film, whereas in Anthology they have been silkscreened onto Shoji paper. Reflecting on the combinatorial nature of the compositions, each book has a unique cover: a patterned black-and-white canvas fabric, screen printed with one of four handwritten texts. Copy 13 of 24

Price Upon Request

Adam Pendleton
Anthology #23, 2018
12262-BK

18 1/2 x 14 1/4 x 2 in. (47 x 36.2 x 5.1 cm)

Large folio with 200 compositions and a unique cover. Isolated photographs and fragments photocopied from the pages of books are layered with marks, dashes, patterns, shapes, and handwriting that frequently verges on abstraction. Each composition is unique, but many elements iterate and recombine throughout the series: masks, ceramics, phrases (“WHAT A DAY WAS THIS”; “IF THE FUNCTION”), and historical images related to modernism and decolonization in Africa. The book, which collates the works in chronological sequence, encourages readers to track these recurring components as they phase in and out across the book’s 200 pages.

The compositions are directly related to Pendleton’s collages on mylar and the book translates and indexes these source collages which are usually printed on transparent film whereas in Anthology they have been silkscreened onto Shoji paper. Reflecting on the combinatorial nature of the compositions, each book has a unique cover: a patterned black-and-white canvas fabric, screen printed with one of four handwritten texts.
Copy n 23 of 24

Price Upon Request

Adam Pendleton
Anthology #6, 2018
11892-BK

18 1/2 x 14 1/4 x 2 in. (47 x 36.2 x 5.1 cm)

Large folio with 200 compositions and a unique cover. Isolated photographs and fragments photocopied from the pages of books are layered with marks, dashes, patterns, shapes, and handwriting that frequently verges on abstraction. Each composition is unique, but many elements iterate and recombine throughout the series: masks, ceramics, phrases (“WHAT A DAY WAS THIS”; “IF THE FUNCTION”), and historical images related to modernism and decolonization in Africa. The book, which collates the works in chronological sequence, encourages readers to track these recurring components as they phase in and out across the book’s 200 pages.

The compositions are directly related to Pendleton’s collages on mylar and the book translates and indexes these source collages which are usually printed on transparent film whereas in Anthology they have been silkscreened onto Shoji paper. Reflecting on the combinatorial nature of the compositions, each book has a unique cover: a patterned black-and-white canvas fabric, screen printed with one of four handwritten texts.
Copy n 6 of 24

Price Upon Request

Matthew Zucker & Pia Östlund
Capturing Nature, 2022, 2022
13217

(33 x 23.2 x 2.8 cm)

$250

Michele Rodda
A Single Leaf, 2021
13576-BK

11 3/4 x 10 1/8 x 3/4 in. (30 x 26 x 2 cm)

Unique artist's book.
This book is a tribute to the diverse vegetation of the tropics.
One nature-printed leaf of Artocarpus elasticus is used for the cover decoration and book, folded in a modified orihon, a Japanese style of concerta folding technique.
The chitsu encloses one nature-printed Victoria cruziana leaf with silver decoration.

Price Upon Request

Michele Rodda
Untitled, 2019
13587-OR

28 x 57 1/2 in. (71.1 x 146.1 cm)

print 4 panel

Price Upon Request

UNKNOWN
Ocean Flowers and their teachings, 1846
568

With sea weed specimens and text. "Sweet is the lore which Nature brings," says the great poet of nature, Wordsworth; and it is in hope of enabling others to extract more and more of this sweetness, that we venture to unfold another volume of "Nature's Teachings." Lacks 4 specimens.

Price Upon Request