Search Results

Noriko Ambe
Geography of the World II, 2004
1431

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

Price Upon Request

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
A photo novel, 1981
2152

wonderful book

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

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

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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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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.

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

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

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

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

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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.

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Ki Baitei
Kyuro Gafu (A Book of Drawings by Kuro), 1799
3062-BK

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

Two volumes. Originally published about 1795, later revised and enlarged issues were published in 1799 and 1824. Includes sixty-two pages of black and white illustrations, without the Haiku poems of the 1795 version; original brown covers with subtle embossed foliage decoration and original title labels. A native of Kyoto, Ki Baitei's art was greatly influenced by Yosa Buson, a poet and painter, under whom he studied. This is listed in Graphic Art of Japan/The Classical School by Owen E. Holloway (1957) page 104, as among the chief albums of artists of the classical school and reproduced among his black and white figures at the end. It is a fine example of a beautiful book with wonderfully bold black and white lines in observation of street and pastoral life, flowers and sky. Compositions are sometimes astoundingly simple in line and they do not continue across the double page, though the balance seems always to be carefully considered.

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

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

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Christian Boltanski
First original maquette for: Les Modèles. Cinq relations entre texte et image., 1979
13454-BK

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

Paris. (The artist). Sheets loose in a paper wrapper, with the title “première maquette” handwritten in blue pencil on front, and with
the artist’s pencil rendering of a buckle and strap closing mechanism.

Les Modèles was an artist's book/catalogue published by cheval d’attaque in 1979 on the occasion of Boltanski’s exhibition in the Maison de la Culture de Chalon-sur-Saone. In the published catalogue, five earlier book works by Boltanski were reprinted, with three having being published previously, whilst for the two other books, this was the first time they appeared in print.
The books reproduced in the catalogue were: Recherche et présentation de tout ce qui reste de mon enfance; Tout ce que je sais d'une femme qui est morte et que je n’ai pas connue; L’appartement de la rue de Vaugirard; 10 portraits photographiques de Christian Boltanski, 1946-1964; and Les Histoires.
Here is Boltanski’s first handmade maquette for Les Modèles consisting of 67 loose sheets, 22 x 16 cm format, and includes the handwritten titles and legends as well as all the original photographs that composed some of Boltanski's earliest artist books.

Collation as follows:

11 preliminary sheets, including handwritten half-title, title, and collaged publisher’s imprint;
Recherche et présentation de tout ce qui reste de mon enfance - handwritten title and 8 original silver print photographs (16.8 x 11 cm), cut and glue-mounted on sheets of Vidalon paper, each photograph framed in pen. ‘Recherche et présentation de tout ce qui reste de mon enfance’ was Boltanski’s first artist’s book, originally published in 1969 utilizing photocopies of the same photographs presented here in the maquette. The photographs include a class photo in which Boltanski features in the upper row, second from the left, a piece of his sweater, a shirt etc. In reality, several of these allegedly personal relics belonged mostly to his brothers and nephews;
Tout ce que je sais d'une femme qui est morte et que je n’ai pas connue - three preliminary leaves including handwritten title & 5 offset printed black-and-white photographic images pasted onto Vidalon sheets, handwritten numbering in pencil beneath. Originally self-published by Boltanski in 1970, these five images reproduce photos of an anonymous family (the photos had been given to Boltanski by the Colombian artist Luis Caballero, who had found them in his studio);
L’appartement de la rue de Vaugirard - preliminary leaf with handwritten title, blank leaf & 10 original silver print photographs (each 7 x 10 cm), cut and glue-mounted onto sheets of Vidalon paper, each sheet numbered in pencil. The photographs were taken from a film shot by Boltanski in an empty apartment on Rue de Vaugirard;
10 portraits photographiques de Christian Boltanski, 1946-1964 (originally published 1972) - two preliminary leaves, one with handwritten title, blank leaf & 9 original silver print photographs (each 14 x 9.8 cm), cut and glue-mounted onto sheets of Vidalon paper, each sheet numbered in pencil. With this series of photographs Boltanski in fact got strangers and friends’ children to pose, except for the last photo which is alleged to show the artist at the age of twenty, when he was in fact twenty-eight;
Les Histoires - two preliminary leaves, one with handwritten title, & 9 original silver print photographs (each 6.5 x 9 cm), cut and glue-mounted onto sheets of Vidalon paper. Each photograph framed in pen, and each sheet numbered in pencil. Here Boltanski utilizes a series of photographic images from a children’s story book, here presented devoid of the artist’s deadpan text captions which were to accompany each photograph in the final published version.
[Ref. Bob Calle - Christian Boltanski Artist’s Books 1969-2007, pp. 12, 16, 26/27, 30/31, 33 (original editions of the five books); p. 124 (reference for Les Modèles)].

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Christian Boltanski
Maquette for: Les Modèles. Cinq relations entre texte et image., 1979
13455-BK

7 3/4 x 4 7/8 in. (20 x 12.4 cm)

Paris. Sheets loose in a paper wrapper, with the author’s name and the title “Livre de Lecture” handwritten in pencil on front, together with a pasted down original silver print photograph depicting a still-life from a children’s party.

Les Modèles was an artist's book/catalogue published by cheval d’attaque in 1979 on the occasion of Boltanski’s exhibition in the Maison de la Culture de Chalon-sur-Saone. In the published catalogue, five earlier book works by Boltanski were chronologically reprinted, with three having being published previously, whilst for the two other books, this was the first time they appeared in print.
The books reproduced in the catalogue were: Recherche et présentation de tout ce qui reste de mon enfance; Tout ce que je sais d'une femme qui est morte et que je n’ai pas connue; 10 portraits photographiques de Christian Boltanski, 1946-1964; L’appartement de la rue de Vaugirard; and Les Histoires.
Presented here is a preliminary handmade maquette for Les Modèles, constructed by Boltanski who in fact gave it the title of a “livre de Lecture” or reading book. It consists of 28 lined graph cards, 20 x 12.4 cm format, and includes the handwritten half-titles and page-numbering, as well as collaged printed texts and original photographs that composed some of Boltanski's earliest artist books.

Collation as follows:

1 preliminary sheet of Vidalon paper with titles in pencil and pasted-down original photograph (5 x 9.5 cm) showing a child’s toy beach ball; half-title on lined graph paper, with titles in pen and pasted down silver print photograph; Recherche et présentation de tout ce qui reste de mon enfance - handwritten title and 8 original silver print photographs (each approx. 12.4 x 8.4 cm), cut and glue-mounted onto four sheets of graph card. ‘Recherche et présentation de tout ce qui reste de mon enfance’ was Boltanski’s first artist’s book, originally published in 1969 utilizing photocopies of the same photographs presented here in the maquette. The photographs include a class photo in which Boltanski features in the upper row, second from the left, a piece of his sweater, a shirt etc. In reality, several of these allegedly personal relics belonged mostly to his brothers and nephews;
Tout ce que je sais d'une femme qui est morte et que je n’ai pas connue - handwritten title & 5 offset printed black-and-white photographic images cut and glue-mounted onto five sheets of lined graph card. This maquette also includes Boltanski’s printed texts which accompany each of the images (the sections of printed text are cut and pasted onto versos of each card). Boltanski’s deliberately neutral comments describe each of the pictures as if it was a certified report. Originally self-published by Boltanski in 1970, the five images reproduce photos of an anonymous family (the photos had been given to Boltanski by the Colombian artist Luis Caballero, who had found them in his studio);
10 portraits photographiques de Christian Boltanski, 1946-1964 (originally published 1972) - handwritten title, blank leaf & 7 (of 9, seemingly lacking page 31/32) offset printed black-and-white photographic images cut and glue-mounted onto four sheets of lined graph card. Beneath all but one of the images Boltanski has also crudely cut and pasted his printed captions. With this series of fake autobiographical photographs, Boltanski in fact got strangers and friends’ children to pose for the images;
L’appartement de la rue de Vaugirard - handwritten title and 8 (of 10) original silver print photographs (each approx. 5.9 x 8.3 cm), cut and glue-mounted onto five sheets of lined graph card. The photographs were taken from a film shot by Boltanski in an empty apartment on Rue de Vaugirard;
Les Histoires - handwritten title, & 10 original silver print photographs (each approx. 6 x 8 cm), cut and glue-mounted onto six sheets of lined graph card (includes an extra photograph, with the final published version of the book only utilizing nine photographs). Boltanski here utilizes a series of photographic images from a children’s story book. The maquette also includes the artist’s deadpan text captions which were to accompany each photograph in the final published version, here handwritten in pen beneath each photograph.
[Ref. Bob Calle - Christian Boltanski Artist’s Books 1969-2007, pp. 12, 16, 26/27, 30/31, 33 (original editions of the five books); p. 124 (reference for Les Modèles)].

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Christian Boltanski

Original maquette for: L'Appartement de la rue de Vaugirard. (Handwritten title on front wrapper: Ces genres élémentaires. Florilège. Livre de lecture et de divertissement par Christian Boltanski)., 1973
13453-BK

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

Stitched into later grey suede-covered wrappers, boxed. With nine original silver print photographs, eight of which measure 8 x 12 cm, with the additional photograph pasted to front cover measuring 8.3 x 8.3 cm.

The unique handmade maquette by Christian Boltanski for his early artist’s book “L'Appartement de la rue de Vaugirard”. The maquette consists of 12 pages of thick Vidalon paper, on which are pasted nine hand-cut original silver print photographs by Boltanski. The first image, pasted onto the maquette’s front cover, is of a paper streamer and face mask, whilst the other eight photographs are stills from a film (16mm - black and white) which was shot in the artist's old flat in the rue de Vaugirard in May 1973. Boltanski has titled each photograph in pencil above, and the artist’s handwritten texts below describe a once magnificent life in these now empty rooms. The texts describe furniture and objects which are simply not there, thus evoking a conventional, comfortable life which is now lost. Interestingly Boltanski has clearly agonised over the texts accompanying the photographs, as is evident in the somewhat inadequate eradication of earlier pencil texts with a rubber eraser, and the subsequent rewriting of the lines of text.
The book of which this is the maquette was not actually published until 1991, and then only as part of the boxed set of "Livres" published by the Association française d’action artistique (AFAA).

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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.

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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.

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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.

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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).

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Pia Camil
Xiuquilla/Blue milk weed, 2017
09921-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).

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Pia Camil
Xiuquilla/Blue milk weed, 2017
09931-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

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.

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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.

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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.

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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 array 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.
Other known copies are in prominent institutions: The Pulverer Collection in the Freer Gallery of Art, National Institute of Japanese Literature, The British Museum, The Art Institute of Chicago, Museum Volkenkunde (Leiden), University of Pennsylvania Libraries, and the New York Public Library.

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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's first book:””Azuma no Teburi” (Customs of the Eastern Capital, with subtitle, Scenes of the Great Peace), published in Edo, 1829. This work ranks high among the large group in book history which illustrates the ordinary doings and customs of the day. Jack Hillier (Art of the Japanese Book, 1987, 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.” Hillier 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, pp. 770-775; C.H. Mitchell, The Illustrated Books of the Nanga, Maruyama, Shijo and Other Related Schools of Japan, 1972, pg. 214.

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

Artist book with loose xerox photo-copies

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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

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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.

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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.'"

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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.

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Artistes Divers CONTEMPORARY
Zeichnungen Catalogue from 1970, 1970
1115

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

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Artistes Divers DA
Ornements pour le Batiment
444

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

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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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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

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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.

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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.

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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.

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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.

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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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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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Mitch Epstein
Fraternity, 2006
1836

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

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Max Ernst
Les chiens ont soif, 1964
4280-BK

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

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

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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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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

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Barbara Ess
Human Life, 1979
10813-BK

11 x 8 in. (27.9 x 20.3 cm)

[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.

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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.

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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.

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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.

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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.

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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.

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

6 x 8 in. (15.2 x 20.3 cm)

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

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Brus, Günter; Hermann Nitsch; Dieter Roth; Gerhard Rühm und Oswald Wiener
Music rarely heard. The Berlin concert Sept. 27, 1974, 1974
13365-OR

21 x 21 in. (53.5 x 53.5 cm)

The original draft for an unrealized poster for the Berliner Konzert, by the Selten Gehörte Musik group of artists, composed of original drawings (in pencil and ink) by Günter Brus, Christian Ludwig Attersee, and Dominik Steiger, together with a drawing with collage by Gerhard Rühm, and mounted and overpainted original photographs by Arnulf Rainer and Hermann Nitsch. The poster is circular in design (perhaps mirroring the shape of the records), with each of the artists designated their separate “slice” of the design. Most of the artists have signed or inscribed their contributions. There is an empty section of the poster where the contribution by Dieter Roth should be positioned. On a printed proof of the poster (diameter 48.5 cm), which accompanies the original draft, Roth has written in pencil “bitte zu von H. drübekleben erste” within the blank section.
Also present is the 3-disc boxed set recording of the Berliner Konzert, published by Hansjörg Mayer three years later in 1977.

Selten Gehörte Musik (Rarely Heard Music) developed from workshops in which an intimate circle of friends, Günter Brus, Hermann Nitsch, Dieter Roth, Gerhard Rühm and Oswald Wiener, met together at loose intervals to talk, eat, drink and collaborate on artistic projects. The aim of the workshops was to create a fruitful artistic collaboration over a period of several intense days (and nights). It was during a subsequent visit by Dieter Roth to Berlin, that the desire for a joint musical event was kindled. There followed an uninterrupted two-day session which spawned the record 3 Berliner Dichterworkshop [3rd Poetry Workshop, Berlin] (12-13 July 1973), for which the ‘brand name’ Selten Gehörte Musik was invented. In 1974 the group decided it was no longer enough to document their collaboration on records, but that they had to combine the recording with a public performance. After an initial performance in Munich in May 1974, a further expanded production took place in November of the same year at the Church of the Holy Cross in Berlin.

The Berlin concert differed from the Munich concert by the addition of three extra participants, Ludwig Attersee, Arnulf Rainer, and Dominik Steiger. Arnulf Rainer contributed to the performance by being a silent grotesque face-puller and contortionist. In the meantime, Gunter Brus, whilst blowing the long alpine horn during the performance, momentarily caused himself to lose consciousness.

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J.J. Grandville
Metamorphoses du Jour, 1829
54

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

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Jenny Holzer
EATING THROUGH LIVING, 1981
3499-BK

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

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

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

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Yasuhiro Ishimoto
Chicago Chicago, 1969
2075

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

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Yasuhiro Ishimoto
Someday Somewhere, 1958
2089

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

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Rein Jansma
Stairs
2048

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

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Kanyosai
Kenshi Gaen, 1771
2285

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

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Hon'ami Kōetsu
A Noh Play, 1610
2290

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

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Martin Kippenberger
Hotel Hotel, 1988
839

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

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

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

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

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

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Yves Klein
Le dèpassement de la problématique de l'art., 1959
13373-BK

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

La Louvière. Editions de Montbliard (Pol Bury & André Balthazar). pp. 32. With 2 hors-texte illustrations in black-and-white. Original plain white wrappers, with titles printed in black on front cover; stapled. This legendary book of disparate texts, printed in a few hundred copies, was initially put on sale with its white cover and very few were actually sold at the time. It remains as the only collection of theoretical art writings by Klein published during his lifetime. After Klein's death the editor trimmed the book slightly and added a blue cover. Copies of this original first edition of the book, in the plain white covers, are thus of some rarity. Although the imprint describes a deluxe edition of 60 copies with a “proposition monochrome d’Yves Klein exécutée à la main et signée par l’auteur”, this was never printed. The book consists of a series of theoretical texts by Klein in which he not only espouses the importance of the ‘blue revolution’, but he also describes how he seeks to free himself from the heaviness of matter, heralding instead a passion for emptiness and space. In the book Klein lists chronologically the phases of his artistic evolution - Composition, Judo, Musique, Peinture, Sculpture, Architecture, Politique. The essays of the book are a surprise combination: a testimony is placed between a theoretical text and a speech, which is in turn followed by a manifesto of political philosophy and its economic developments; the speech that follows again announces a theoretical text, and the book ends with a curriculum vitae and a pedagogical project entitled “Création d’’un centre de sensibilité”. The texts are: “Le dépassement de la problématique de l'Art “Préparation et présentation de l'exposition du 28 avril 1958”, “Discours prononcé après le vernissage de l'époque pneumatique”, “Esquisse du manifeste technique de la révolution bleue”, “Esquisse et grandes lignes du système économique”, “Discours prononcé à l'occasion de l'exposition Tinguely à Düsseldorf (janvier 1959)”, “Exemple de collaboration réalisée, évolution générale de l’art actuel vers l'immatérialisation”, (with Werner Ruhnau, “Ma Systématique d'évolution”, “Yves Klein (dit le monochrome)”, “Histoire personnelle”, “N.B.”, and “Création d'un centre de sensibilité”. Rare only edition. – Although the imprint describes a deluxe edition of 60 copies with a “proposition monochrome d’Yves Klein exécutée à la main et signée par l’auteur”, this was probably never printed.

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Shiba Kokan
Gasu Sairtan, 1803
2288

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

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

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

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

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Jiri Kolar
Poem R, 1965
13104-BK

11 1/8 x 8 1/4 in. (28.5 x 21 cm)

Copenhagen. (Self-published). Original tan wrappers, saddle stapled. First edition of 100 copies. Artists' book by Jiří Kolář featuring typescript concrete poems consisting of the lowercase letter “r” on die-cut pages. The five typescript concrete poems are printed on die-cut pages such that later poems can be partially seen through the cut holes. Published with the help of Eric Andersen who mediated the project. Half the edition was kept in Copenhagen, with the other half sent to Willem de Ridder's European Mail-Order Warehouse/Fluxshop. The book showcases Kolář’s mastery of concrete poetry. Kolář was a distinguished Czech poet, writer and translator, who won recognition with his experiments with various types of collages and his work with paper, which he transformed into a form of original pictures, reliefs and spatial objects. He was the author of several artists’ books in which the element of repetition represents a central principle of thought. Kolář was predominantly interested in the fusion of the word behind the image, and language, the written word or the destruction of it, played an important role in his artwork.

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Hatta Koshu
Koshu Gafu (A Book of drawings by Koshu), 1812
3061-BK

10 1/4 x 7 1/8 in. (26 x 18 cm)

The "Gafu" exists in two versions, one-volume and two-volume editions. The was first issued in 1812 and there were later issues in 1814 and 1824. Owen E. Holloway (Graphic Art of Japan/The Classical School 1957) declares that the issue of 1824 is found both with and without color: “This is a splendid book and I would give it very high marks in the collection. Certainly it has color beautifully used and I cannot imagine it without. There is a succession of wonderfully arranged double-page illustrations of plant and landscape, animals and people, always with plenty of white space and consciousness of composition. Notable are the illustration of a wisteria, fishing nets hanging out against the sea and the sunset sky, an old fellow reading as he rests against his broom (or grass?): a pumpkin with a grasshopper creeping up it, and plum blossom.” Jack Hillier has a good deal to say about Koshu and of the "Koshu Gafu" he writes: "This is a perfect exposition of his quite personal style and shows his competence in handling widely varied subject matter". Mentioning in particular the fishing net print he says "...but the color printing in this case is so vaporous and subtle that it defies reproduction." Original embossed patterned blue covers, title label. C.H. Mitchell, The Illustrated Books of the Nanga, Maruyama, Shijo and Other Related Schools of Japan, 1972, page 378.

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

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

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Kunisada III
The Thirty-Six Immortal Poets, 1890
1788

A splendid Meiji-Period example of Ukiyo-e printing skills, the thirty-six prints which form this book display a perfection of technique in woodblock color-printing, after about one hundred and fifty years of endeavor. Viewed as the final period of Ukiyo-e art, this perfect state of preservation as a book, the images are astonishing. The subject of the thirty-six prints (each made from many different blocks) is no less intriguing—wholly traditional Japanese subject, thirty-six Immortal poets. Amazingly, there were thirty-six immortal women poets, and thirty-six immortal men poets. Here are the thirty-six women. Looking through the book one sees only geishas in their elaborate kimonos, in various forms of elegant activity; in the background of each are poems. As design and printing in the last phase of an old world, before modern Japan and Western taste prevailed, this is a flawless monument.

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Le Corbusier
Vers Une Architecture, 1928
351

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

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Sol Lewitt
Autobiography, 1980
829

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

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Sol Lewitt
Brick Walls, 1975
3964-BK

Artist book of photographs of brick walls with full bleed

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

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

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

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

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

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

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Richard Long
Nile. Papers of River Muds, 1991
13153-BK

12 1/8 x 9 in. (31 x 23 cm)

Folio, publisher's parchment-backed handmade paper-covered boards, red titling to front cover and spine; publisher's single sheet on handmade paper using pulp mixed with mud from the Murrumbidgee River in Australia laid in (numbered 76/172 on blank verso); original parchment-edged paper covered slipcase. Number 76 of 88 copies signed by the artist. The paper used in production was pulp mixed with mud from rivers around the world, producing pages in different shades of brown, from the following rivers: Nile, Umpqua, Hudson, Murrumbidgee, Mississippi, Indragoodby, Jordan, Condamine, Avon, Chitravathri, Amazon, Rhine, Guatiquia and Huang He, first sheet of each example titled in red with the respective river's name. Santa Monica: Lapis Press,

Nile (Papers of River Muds) is a limited-edition book printed by the Lapis Press, Los Angeles. It is usually displayed with its pages open for view next to its slipcase. The slipcase is made with grey hand-made paper with vellum-like edges, and the title NILE | RICHARD LONG is printed centrally in red letterpress. The cover of the book is made with orange-brown, hand-made paper and has a spine made from a vellum-like material. The name of the river UMPQUA in Oregon, USA, is printed centrally in red capital letters. RICHARD LONG is printed in red capital letters on the spine. The hand-bound pages of the book are made of heavy hand-made paper in various shades of brown, their edges left uncut, or ‘deckle-edged’, following the paper-making process. The names of several rivers from around the world are printed on separate pages in red.

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Richard Long
Dust, Doboros, Desert Flowers, 1987
13151-BK

12 1/4 x 12 1/4 in. (31.1 x 31.1 cm)

Hardcover, paper, includes a 45 RPM record mounted inside back cover, all inserted inside linen covered slipcase (color reproductions). The pigments used for the etchings in this book were gathered by the editor and the artist in Death Valley, CA, in the spring of 1982. The archive has another coy of this record. Edition of 35.
7 etchings using pigments gathered from Death Valley. Square 4to, publisher's black cloth lettered in white; 45 RPM record (“A Round of Desert Flowers” side A) in sleeve mounted to rear pastedown, as issued; original matching slipcase. Signed by the artist. Los Angeles: The Lapis Press

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Richard Long
Dust, Doboros, Desert Flowers, 1987
1663

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

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Adam Lowe
Digital Prints, 1997
2301

All in a black clothbound portfolio. The printed volume includes the introduction and essays; the mounted prints constitute 22 separate versions of a single image, manipulated to demonstrate various print processes. "Each of the 22 versions of the image has its process identified in relief on the mount. The book contains detailed notes on each of the processes used in the portfolio. The main points under consideration are the suitability of the process for the image, the resolution, the surface and relief qualities, the visibility or invisibility of the dot, the way the ink or dye sits on the paper, the archival stability under daylight conditions, and the influence of the substrate in conditioning our response to the print." Limited to an edition of 100 boxed sets; each numbered and signed by the artist. The text is bound in black cloth, stamped in white. The prints measure 23 x 35 cm., mounted on 41 x 51 cm. boards. All in a black cloth Solander box. This portfolio is an in-depth study of the digital print. It aims at trying to keep the image constant, but all printing requires interpretation and an element of subjectivity is left in the hands of the printer. It allows for a meaningful comparison and foregrounds the physical differences between each process at the highest possible quality. Each of the 22 versions of the image has its process identified in relief on the mount. The book contains detailed notes on each of the processes used in the portfolio. The main points under consideration are the suitability of the process for the image, the resolution, the surface and relief qualities, the visibility or invisibility of the dot, the way the ink or dye sits on the paper, the archival stability under daylight conditions, and the influence of the substrate in conditioning our response to the print.

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Luca and Kowalski
Le Chat de la carpe,, 1973
13349-BK

9 3/4 x 13 3/4 x 4 1/2 in. (25 x 35 x 11.5 cm)

Book-object by Piotr Kowalski, with the constituent elements contained in the publisher’s grey canvas box. This one of only 13 édition-de-tête examples with the book of poems by Ghérasim Luca printed on acetate film. Each copy of this deluxe edition is contained in an acrylic Altuglas casing which serves as a support for Piotr Kowalski's contribution which is composed of six elements: a set of mirrors (concave, flat and convex) in which three cubes of decreasing volume are reflected; the sets of mirrors were cut out of vacuum aluminized optical glass with silica protection; the cubes were built in Altuglas. Each copy is numbered and signed with a steel point by Kowalski on the front cover of the Altuglas casing, and in India ink by Luca and the publisher on the justification page. Complete with the translucent 7-inch 45rpm flexi-disc Othering of “Quart d'heure de culture métaphysique” as spoken by the author, Ghérasim Luca.

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

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

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Wendy Mark
89 Clouds, 1999
791

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

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Kitao (Keisai) Masayoshi
Keisai Soga, 1820
3063-BK

10 5/8 x 7 1/4 in. (27 x 18.5 cm)

Albrecht Durer's (1471-1528) drawing of a geometrical man was an amazing--startling, even--object to the early 16th century consciousness. His "Symmetria partium" humanorum corporum (1537) was a masterpiece, and a key piece of revolutionary visionary thinking. The first two pages of this book are both front and back of a man on a grid very similar to that of Durer. Masayoshi cleverly illustrates men and women on different activities as wrestling, dancing, fishing, horse riding fighting, and daily chores. Also there are images of an octopus and flowers as well. A very fine copy with very subtle color printing.

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

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

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

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Hansjörg Mayer
Konkrete poesie international, 1965
13347-BK

19 x 19 in. (48.3 x 48.3 cm)

Stuttgart, Edition Hansjörg Mayer. Text sheet with foreword by Max Bense and 13 offset-lithographic plates. Sheets loose as issued in original cloth-backed portfolio with flaps. It was at the end of 1964 that Hansjörg Mayer, editor, typographer and artist, began to publish a series of concrete poetry portfolios, each produced in relatively small numbers (from 40 to 200 copies). The second of these portfolios “Konkrete poesie international” was published in 1965, in an edition of only 40 copies (this copy unnumbered). The portfolio reunites works by each of the major concrete poetry protagonists. Each of the 13 participating artists provides a single printed typographic work, each plate is signed on the verso by the artist in pen or pencil, either on the sheet itself, or on a gummed label. The wholly international outlook of the production means that the portfolio includes signed works by Carlo Belloli, Claus Bremer, Ian Hamilton Finlay, Pierre Garnier, Mathias Goeritz, Joselino Grünewald, Eugen Gomringer, Josef Hirsal, Dieter Roth, Vagn Steen, Paul de Vree, Emmett Williams, and Oswald Wiener. [Ref: M. Glasmeier - buchstäblich wörtlich, wörtlich buchstäblich. Katalog Nationalgalerie Berlin, p. 60].

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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.

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Beatriz Milhazes
Coisa Linda, 2002
1413

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

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Aikawa Minwa
Manga Hyaku-Jo (Sketches of a Hundred Women), 1814
3059-BK

10 1/4 x 7 1/8 in. (26 x 18 cm)

Aikawa Minwa died in 1821, living at various times in Kyoto and Osaka. He is chiefly known for this book which strikes me as very atttractive both for content and printing. Hillier thinks less highly of it as art but mentions "the wonderfully sensitive printing in this book, blocks for pale pink and grey assisting the ink line". I would say one has to take the subject into account: women in their elegant activities or hard-working arts and crafts of weaving, spinning, printing, fabric dyeing, sewing, washing material in the water, planting rice, winnowing the grain, taking the harvest-or being elegant on a balcony admiring the moon and the blossom; playing instruments, dancing, performing and teaching tea ceremony etc.etc.It seems to me an uncommonly attractive book and that Hillier is somewhat insensitive about the themes. Mitchell describes it fairly fully, page 404. This copy has its original binding which, in this instance, is embossed coffee-colored paper with streaks of darker brown across irregularly and no title label.

Price Upon Request

Joan Miro'
Le Marteau sans maÁ®tre (Hammer without a Master), 1976
2039

18 1/2 x 14 1/8 in. (47.2 x 36 cm)

Complete set with 23 colored engravings in etching and aquatint by Joan Miró. Paris: Au Vent d'Arles. Folio, loose as issued, in the original gray wrappers. Preserved in tan Morocco backed folding box. A fine copy of this classic example of Miró's work as a book illustrator, this one vibrantly illustrating a poem by French poet René Char. Miró illustrated 250 books during his life, and some of the most accomplished, like this one, were produced in his last twenty years between 1960 and 1982. The complete set of 23 unsigned original etchings (ąquaforte and aquatint) in color, hors-texte, (including 8 which are double-page). Copy number one of an edition of 125 copies printed on Arches wove paper, with the watermark Au Vent d'Arles. Signed by Miró and Char on the colophon. Patrick Cramer, “Joan Miró: The Illustrated Books (1989), p. 216. Jacques Dupin “Miró Engraver IV” of the catalogue raisonné (2001), pp. 944-966.

Price Upon Request

Henry Moore
Promethee, 1950
4231-BK

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

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

Price Upon Request

Tachibana Morikuni
Ompitsu Soga, 1749
2317

10 3/8 x 7 1/8 in. (26.5 x 18 cm)

3 volumes complete. A book dealing with So (cursive or coarse brushwork), and introducing, if not for the first time, then for the first time on such a systematic scale, new methods in preparing woodblocks to convey total effects on ink-painting, not by black outlines or by lines in white reserve, but by roughening the surface of the wood to produce a scumbling, almost mezzotint-like effect, and by lowering certain areas, which then painted more faintly than the remainder of the block with the connivance, of course, of the printer, who was responsible for the degree of pressure applied to the barren used for “burnishing off” the proof. Jack Hillier, “Art of the Japanese Book” (1987), pg. 191.

Price Upon Request

Daido Moriyama
SOLITUDE DE L'OEIL, 2007
1835

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

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

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

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

Price Upon Request

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

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

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

Price Upon Request

Dieter Roth Mundunculum
Stamp Box, 1968
1207

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

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

Price Upon Request

Vik Muniz
Flowers, 1999
13156-BK

3/4 x 1/2 in. (32.4 x 26.7 cm)

Geneva: Coromandel Press. With 6 original gelatin silver prints, each signed and dated on the verso and tipped into window mounts. Loose as issued in cloth-backed folder, with chemise. The book is presented in a dark-green paper folder inspired by old school notebooks. Edition of 50. The Brazilian artist Vik Muniz had been collecting artificial flowers for many years and had even fabricated some himself from paper. For this book, he selected a series of images that evoke an old herbaria of the 18th century, an era during which amateur botany became a fertile aristocratic entertainment. At first glance, the photographs appear to be of these classical representations. However, after observing the image more closely, the reader can detect the reflection of a piece of plastic or the paper’s texture. Challenging our faculty of perception is a central element in the work of Muniz. The photographs were enriched, in the printing process, with sepia and gold tones to emphasize their similarity to old prints. The typography is a post-modern reinterpretation of the over-ornate fonts of the 18th century.

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Hermann Nitsch
O.M. Theater Herman Nitsch. A photo documentation, series II. Munich. Avant Art Galerie Casa., 1969
13366-OR

9 3/8 x 7 1/4 in. (24 x 18.5 cm)

Nitsch’s three-day performance "Orgien Mysterien Theater 3-tage Fest" was to have taken place between the end of June and mid-July 1969 at the Galerie Casa in Munich. In reality this project was only realized many years later, with Nitsch’s 80th Action held from 27 to 30 July 1984 in the artist’s castle of Prinzendorf. Despite the festival not taking place in 1969, the Galerie Casa did stage Nitsch’s only exhibition of that year in Munich, a retrospective show entitled “Hermann Nitsch. Dokumente zum O.M.Theater”. They also published three deluxe limited edition volumes of original photographs, documenting several previous Nitsch actions. This is the second of those volumes, and is published in an edition of only 20 copies. The book contains 10 original black-and-white photographs as well as an original plaster collage relic (each full-page 24 x 18.5 cm). This is copy no.1 of 20, signed by Nitsch and inscribed by him to Oswald Wiener, “"Für meinen von mir sehr geschätzten Freund Ossi Wiener”. Many of the actions carried out by Hermann Nitsch during the late 1960s, like those actions of Schwarzkogler and Brus, were staged exclusively for photographic and film documentation. Whilst Nitsch’s most frequent and recurring prop was the crucified, opened carcass of a lamb, in the photographs of the actions he also used male bodies, combining them with substances and material typical of his oeuvre including intestines, blood, slime, wallpaper paste, brains and bandages (female models were available to him only from 1969 onward). Presented in the photographs as torsos - head and feet are not shown - the depersonalized bodies function exclusively as supports for material and images. Positioned standing or recumbent, the torsos are precisely placed in front of undefined white backgrounds, usually in strict linear verticality. The model for the earliest Nitsch actions was Rudolf Schwarzkogler, however from the 12th action onwards it was Heinz Cibulka, a fellow-student of Schwarzkogler’s at the Graphische Lehr- und Versuchsanstalt. Nitsch then usually placed bandages or menstrual pads on the genitals or chests of his models and spattered them with blood, egg yolk or water. The bodies were also bedecked with entrails or inscribed with linear markings. The photographs in this volume, whilst not listed, appear to be of the following Nitsch actions: 12th Action (September 6, 1965), performed at the apartment of Heinz Cibulka, photographer Franziska Cibulka; 18th Action (May 29, 1966), held at Nitsch’s Vienna apartment, photographers Hermann NItsch and Eva Nitsch; 20th Action (August 29, 1966), Nitsch’s Vienna studio, model Heinz Cibulka, photographer G. Helm; 29th Action (December 11, 1968), held at Otto Dressler’s studio; Action 30a (May 11, 1969), at Cibulka’s apartment, photographer Heinz Cibulka, the model a pregnant Franziska Cibulka. [Rare. No copies listed on WorldCat].

Price Upon Request

Yoko Ono
Grapefruit, 1964
5542-BK

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

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

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

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

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

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

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

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

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

Price Upon Request

Gabriel Orozco
Polvo Impreso (Lint Book), 2002
13158-BK

17 x 15 in. (43.2 x 38.1 cm)

Santa Monica. Edition Jacob Samuel. 12 soft ground etchings with chine collé by Gabriel Orozco, printed on Fabriano Tiepolo and natural Gampi paper. Two letterpress sheets with artist’s text in in Spanish and English. Original grey cloth, lettering in black. Card slipcase.

Gabriel Orozco’s famously used swaths of fluffy grey lint collected from New York laundromats, and strung it on wires across gallery spaces, like lines of surreal washing. With this human detritus – the skin and hair that form the lint – Orozco invites us to see its possibilities as sculptural material, and to note its varying textures and subtle vestigial color. The verbal word play around something as insubstantial as washing machine effluvia is typical of Orozco’s game-playing inclinations.
The soft ground etchings made from pressing the lint onto printing plates are surprisingly beautiful, whilst also demonstrating Orozco’s predisposition for non-art materials. Published in an edition of 25 copies (+ 7 artist proofs), numbered and signed by Orozco, this one of the 10 bound copies (the remaining 15 copies were issued in loose portfolios).

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

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

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Giulio Paolini
Sei illustrazioni per gli scritti sull'arte antica di Johann J. Winckelmann (Six Illustrations for the Writings on Ancient Art by Johann J. Winckelmann), 1977
13059-BK

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

Published by Mello e Persano, Genova, Turin. Large folio bound in brown buckram with 36 pages sewn by hand with original printed dust jacket housed in publishers box with label affixed. Three pages of text by Winckelmann plus six double page illustrations printed in lithography and silkscreen, two of which are unique collages by the artist; one with ripped papers and the other with a closed mystery envelope. As published, with printed white dust jacket and folding box with printed label on front. Signed and numbered 32 of 33. There were also seven copies numbered with Roman numerals. Based upon the study of the ancient world by the 18th-century historian and writer Johann Joachim Winckelmann called “On Art, Grecian Drawings, and Beauty”, this work by Paolini is divided into six chapters, corresponding with six, two-page illustrations. It is a return to the tradition of bibliophilism, which, through its love of words, considers the book as a precious objet d 'art. Paolini’s reference to Winckelmann reaffirms the neoclassical origins of many of the artist's works. The plates, drawn in a refined contrast between whites, blacks, and ochres, are often embellished with collages. Provenance: Jeanne-Claude and Christo

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Giulio Paolini
Un Quadro, 1971
3490-BK

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

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

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

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

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

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: 150 Years of Nature Printing, 2023

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

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

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

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

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

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

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

Price Upon Request

Pablo Picasso
Lysistrata, 1934
13579-BK

11 3/8 x 9 1/4 in. (29 x 23.5 cm)

Containing six original etchings, each book signed by the artist. Copy #1319

Price Upon Request

Pablo Picasso
Lysistrata, 1934
413

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

Price Upon Request

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

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

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

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

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

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

Price Upon Request

Dieter Roth Poetrie Serie
Poetrie 1, 1967
3789-BK

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

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

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Dieter Roth Poetrie Serie
Poetrie 2, 1967
4013-BK

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

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

Price Upon Request

Dieter Roth Postcards
8 Postkarten, 1967
1794

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

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

Price Upon Request

Dieter Roth Postcards
siebdruckbild 1, 1967
4227-BK

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

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

Price Upon Request

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

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

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

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

Price Upon Request

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

silk screen on carton, 90x90cm, edition of 80

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

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

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

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Dieter Roth Prints
HAT RING, 1971
4455-PR

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

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

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

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

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

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Dieter Roth Prints
Berner Oberland, 1970
4172-PR

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

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

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Dieter Roth Prints
Berner Oberland, 1970
4393-PR

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

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

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Dieter Roth Prints
Berner Oberland, 1970
4405-PR

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

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

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

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

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Dieter Roth Prints
Emme, 1970
3782-PR

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

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

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Dieter Roth Prints
Emme, 1970
4173-PR

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

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

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Dieter Roth Prints
Emme, 1970
4391-PR

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

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

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Dieter Roth Prints
Emme, 1970
4404-PR

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

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

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

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Dieter Roth Prints
Koln Cologne, 1970
4102-PR

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

inscribed to Rudolf Rieser

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Dieter Roth Prints
Piccadilly proof print, 1970
4712-OR

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

Purchased from Hanns Sohms widow

Price Upon Request

Dieter Roth Prints
Piccadilly proof print, 1969
4722-OR

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

Purchased from Hanns Sohms widow

Price Upon Request

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

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

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

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Dieter Roth Prints
F.C.M.F.U.W.M., 1965
3929-OR

4 7/8 x 4 3/4 in. (12.5 x 12 cm)

For Clarice and Malcolm For Use of Washing Machine. Collage of cut paper with mold from chocolate syrup. Signed D.R. 65

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Dieter Roth Prints
Federfranse, sich aufloesend, 1965
3411-PR

This unique stamp drawing was made for the 1967 publication, Mundunculum, as seen on the double page 126-127.

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Dieter Roth Prints
Untitled, Icelandic Landscape, 1963
4416-OR

3 1/4 x 5 3/8 in. (8.2 x 13.7 cm)

Offset printed postcard, tape. Diametric Icelandic landscape.
Unique. Signed. Reference:# 5 -collected landscapes. Note: Original postcards send to Andre' Balthazar.

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Dieter Roth Prints
Untitled, Icelandic Landscape, 1963
4415-OR

3 1/4 x 5 3/8 in. (8.2 x 13.7 cm)

Offset printed postcard, tape. Diametric Icelandic landscape.
Unique.. Reference:# 5 -collected landscapes. Note: Original postcards send to Andre' Balthazar.

Price Upon Request

Dieter Roth Prints
BEWOGEN BEWEGING, 1961
4362-PR

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

Poster designed for the famous moving movement exhibition in Amsterdam. The poster has a black background with silkscreened white and die cut circles. The bottom of the composition is set in sans-serif typeface. Imagine copies of this black-and-white poster pasted on walls previously containing advertising, or paint, or brick. These circular “windows” revealed glimpses of life underneath. The poster intended to be viewed differently depending on its environment.

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Dieter Roth Prints
Brown and White Vase, 1960
3843-OR

8 1/4 in. (21 cm)

middle of page 41 in Roth Books and Multiples. 21 cm high

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Dieter Roth Prints
Design for June 17th, 1960
3856-PR

Icelandic National Day is an annual holiday in Iceland which commemorates the foundation of The Republic of Iceland on 17 June 1944 and its independence. Dieter designed this piece with Rafn Hafnfjord.

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Dieter Roth Prints
Litbra Logo design, 1960
4468-OR

Roth designed logo with two films of positive and negitive circles. Referenced in vol 18 page 11

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Dieter Roth Prints
Manuscript by Dieter to Andre, 1960
4141-OR

Letter describing the books which with 2 unique stamp drawings by dieter

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Dieter Roth Prints
Menu made for Holt restaurant, Iceland, 1959
4435-OR

15 3/8 x 3 1/8 in. (39 x 8 cm)

oblong menu with die cut holes and morey pattern on back, designed and made by Roth using two films, one with dots and the other with holes.

Price Upon Request

Dieter Roth Prints
Drawing of Interior of Pharmacy, 1958
4021-OR

18 7/8 x 12 3/4 in. (48 x 32.5 cm)

From the collection of Gudmundur Kristjansson

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Dieter Roth Prints
eftir, 1958
4470-PR

Poem by Einar Braga

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Dieter Roth Prints
I hokli ur snjo, 1958
4469-PR

Poem by Einar Braga

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Dieter Roth Prints
Original binding paper made by this artsit
4682-PR

Price Upon Request

Lukas Pusch
Hurra! 1914-1918, New York Art Book Fair at Moma PS1, 2014
4482-PR

Poster set of Obama, Merkel and Putin

Price Upon Request

Lukas Pusch
Kaiserwalzer, 2009
4460-BK

7 5/8 x 5 7/8 in. (19.5 x 15 cm)

Artist Book with original collages. Number 2 of 20 copies. The book documents all art works Lukas Pusch made in order by Austrias most tradiitional art fair located in the Viennese Hofburg. Puschs artworks were censured and a big scandal ensued.

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Lukas Pusch
Afrika, 2008
4459-BK

17 3/4 x 14 x 2 in. (45 x 35.5 x 5 cm)

This book documents the artists time in one of the biggest slums in Kenya, Africa with dozens of collages and drawings. The book also includes the radical l art for l art text „Schlagt die Frauen und prügelt die Kinder - Beat the women and flog the children" (Each deluxe edition is in a zebra cloth covered box with a unique drawing. Edition of 100 copies with 10 deluxe copies and 5 APs, this copy is 1 of the 5 AP. Signed, numebered and in a special box

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Lukas Pusch
Zil 130 Deluxe, 2008
4463-BK

6 x 9 x 4 1/8 in. (15.2 x 23 x 10.5 cm)

The book tells the story of the artists Siberian journey with a soviet truck, ZIL 130, and his White Cube Gallery Novosibirsk that was tranported on the rear of the truck where he opened a gallery in many towns he visited. The photographs document the series of break downs that occured along the way. edition of 100 plus 10 Deluxe copies with original tipped in photographs.

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Renard
Poissons, Ecrevisses et Crabes  , 1754
733

The book contains 100 plates comprising 460 hand coloured copper engravings. In all, 415 fishes, 41 crustaceans, two stick insects, a dugong and a mermaid are represented. The illustrations in the first part tend to be fairly realistic, but many in the second verge on the surreal. The illustrations have generally been condemned as being crudely drawn but they were - for the most part - made after actual specimens. Renard carefully explains in his introduction that for the first volume he had the images copied exactly from drawings belonging to Mr Baltazar Coyett - the governor and director of Ambon and Banda (1694-1706) - who had the fish captured and painted.

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Maria-Aurelia Riese
Salad Pussy, 2021
13628-OR

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

Artists Book. With 24 prints with text bound in Cloth boards by the artist.

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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.

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Collaboration Roth
Interfaces, 1988
3400-BK

7 1/8 x 4 3/8 in. (18 x 11 cm)

This artist book is a butterfly bound book with images of pieces by Richard Hamilton and Dieter made for the exhibition in Cadaques Spain. This is one of 500 copies with inscription dated 1995 plus a drawing of the book on the box. NOT IN ROTH.

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Collaboration Roth
Double Portrait tripdic, 1977
4044-BK

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

Roth, Dieter and Hamilton, Richard. Drypoint, Aquatint, Drypoint and Aquatint within the DELUXE EDITION Collaborations of CH. Rotham. 128 pages, offset and letterpress. 72 color plates. 23 X 17 cm, stitched, softback. Printed by Staib + Mayer, Stuttgart. Published by edition Hansjorg Mayer, Stuttgart, London, and Galeria Cadaques (Gerona). 2000 copies of which 30 in leather and slipcase, with 3 etchings by the authors, numbered and signed. This is the copy n 30 of 30 . DR. CW. 40 # 95.

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Collaboration Roth
The Rotham Certificates with Richard Hamilton, 1977
4343-BK

5 7/8 x 4 1/8 in. (15 x 10.5 cm)

37 postcards and introduction in folded cover, offset, multicoloured. 14.8 x 10.5 cm, in cover, printed by Staib + Mayer, Stuttgart. Published by edition hansjorg mayer, Stuttgart, und Galeria Cadaque (Gerona). Edition of 1000 . DR. CW. 40 # 96.

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Collaboration Roth
Ratiobriefe with Arnulf Rainer, 1976
4344-BK

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

Radio Letters 1,2,3 complete all issues stapled and in cloth portfolio in an edition of 200 copies.Ratioletter 1, 3 sheets. Ratioletter 2, 5 sheets. Ratioletter 3, 23 sheets. Small offset, stapled. Published by edition hansjorg mayer, stuttgart, Iondon, reykjavfk, edition of 200 each . DR. CW. 40 # 94.

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Collaboration Roth
Zeitschrift fur alles Review for Everything, 1975-78
1175

10 volumes in all with covers designed by Uwe Lohrer, between 32 and 1252 pages offset, softback, staples or adhesive bound. Nos. 1-3, edition Hansjorg mayer 1975-78, then Dieter Roth's Verlag(Nos. 8-10 edited by Barbara Wein, Berlin) NOt in DR. CW. 23x17cm

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Collaboration Roth
Neo Nix und NEO MIX, 1975
3429-BK

9 x 9 7/8 in. (23 x 25 cm)

Dieter Roth and Rainer. 240 pages, offset, multicolored, stitched, softback. Printed by Staib + Mayer, Stuttgart. Published by edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 400 copies, numbered and signed by both authors. This is the copy n 40 of 100 . DR. CW. 40 # 92.

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Collaboration Roth
Interfunktionen 4, 1970
1114

11 5/8 x 8 5/8 in. (29.5 x 22 cm)

183 pages of witch 8 by Rot. Periodical, Pictorial wrapper. Offset printed. Glue bound. Black and white. Edition of 1100. Published by F.W. Heubach, Cologne.Offset and collage element. 29.5 x 22 cm (11 5/8 x 8 11/16 in.)Cologne. Artists and contributors included: Panamarenko, Dennis Oppenheim, Keith Arnatt, Joseph Beuys, Daniel Buren, Diter Rot [Dieter Roth], Claus Böhmler, Günter Brus, Gilbert & George, Dieter Meier, Jan Dibbets, F. W. Heubach, Daniel Buren, Peter Weibel, Paul Sharits, W & B Hein, Valie Export, Carl Andre. Twelve issues over seven years( 1968-1975) may not appear to be a particularly impressive output, but it is difficult to overemphasise the influence and significance of Interfunktionen during and after its brief existence. Dissenting from the new 'art-as-commodity' attitude expressed at Arnold Bode’s documenta 4, Interfunktionen magazine, edited by Fritz Heubach in Cologne, was an interdisciplinary effort among activist artists to promote European art and ideas without bowing to the era’s increasingly commercial trends. In the summer of 1968 the opening of Documenta 4 had come under public attack for a conventional, market-driven agenda that was felt to represent inadequately the art of the '60s. With the exception of some "environments" neither space nor money was available for new media: an event involving performance and sound art, long planned by Wolf Vostell, was cancelled. American Pop and Minimalist artists, hot tickets on the German art market, far outnumbered artists from any single European country, provoking critics to nickname the show "Americana" and to refer to New York City as a "suburb of Kassel." Inextricably linked with the Joseph Beuys-era Kunstakademie Düsseldorf and the LIDL Akademie, Interfunktionen boasted contributions and support from Jörg Immendorff, Sigmar Polke and Wolf Vostell. It published theory, criticism and artists’ projects, and facilitated a brand of European-American relations in art that had not quite existed or been explored before. Interfunktionen’s first issue was originally published in – by today’s standards – an impossibly small edition of 120 (later issues averaged a circulation of about a thousand, although issue 2 was produced in an edition of only 250, with issue 3 in an edition of 300). Sets of the magazine with the original edition of issue no.1 are exceedingly rare. This first number's main function was to articulate a reaction to documenta 4: the record of a performance action staged by a loose group of Interfunktionen members and supporters at the press conference and the reproduction of pieces banned at the exhibition. The first issue is a collection of some seventy-five pages, made of assorted papers printed, typed, or handwritten, including loose enclosures, foldouts, and collages of news clippings with scrawled citations. In his introduction, Heubach warns that the restrictive policies of art institutions like Documenta impede the free, experimental production of art. Detailed records describing the canceled multimedia event and a general collection of news coverage follow. Midway through the issue things heat up. "Honey-Blind Action" documents performances staged by artists during the opening press conference of Documenta: Jorg Immendorff jumped across tables, waved a stick topped with the silhouette of a cute polar bear painted light blue, and smeared honey over the microphones, while his wife, Chris Reinecke, "hugged and kissed everyone," including the alarmed curator Bode. Vostell poured a bag of change in front of the curators as a symbolic donation, and Heubach, among others, raised a banner reading, "Prof. Bode, we, the blind, thank you for this pretty show." Newspaper articles are interspersed with an absurd correspondence between Reinecke and the city of Kassel, which officially fined her 27.35DM for the removal of honey stains from tables and carpets. Matching the city's bureaucratese, her formal reply declined responsibility and requested that the bill be sent to her husband instead at the same address. The "

Price Upon Request

Collaboration Roth
Freund + Friends + Freunde + Freunde, 1969
3473-BK

9 x 6 3/4 x 78 in. (23 x 17 x 2.3 cm)

Roth, Dieter, Karl Gerstner, Daniel Spoerri, Andre Thomkins und Freunde. Artist's book published in conjunction with exhibition held at Kunsthalle Bern, Bern, Switzerland, May 1969. Traveled to Kunsthalle Düsseldorf, Düsseldorf, Germany, July 1969. Contributions from Karl Gerstner, Dieter Rot [Dieter Roth], Daniel Spoerri, Andre Thomkins, and "friends." Composed of drawings and reproduced texts. Texts in German. Reference : No. 391 in "Die Bücher der Künstler : Publikationen und Editionen seit den sechziger Jahren in Deutschland" by Michael Glasmeier. London / Frankfurt, United Kingdom / German : Institut für Auslandsbeziehungen, 1994, pp. 164.

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Collaboration Roth
Interfunktionen 3, 1968
1125

11 5/8 x 8 5/8 in. (29.5 x 22 cm)

146 pp., Periodical, Pictorial wrapper. Offset printed. Glue bound. Black and white. Edition of 500. edited by Friedrich Wolfram Heubach.Published by F.W. Heubach, Cologne. Artists and contributors included : Joseph Beuys, Walter de Maria, Dennis Oppenheim, Mike Heizer, Richard Long, Jan Dibbets, Robert Smithson, Friedrich Wolfram Heubach, Lutz Schirmer, Hagen Lieberknecht, Wolf Vostell, Diter Rot [Dieter Roth], Johannes Stüttgen, Matthias Schäffer, Gabor Altorjay, Günter Brus, James Lee Byars, LIDL, Jörg Immendorff. With an original unique piece from each artist, including a slice of bread from Vostel and an orginal drawing by Roth.

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Collaboration Roth
Noch mehr Scheisse, 1968
3434-BK

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

Roth and Emmett Williams. dieter rot still more shit a supplement, Emmet Williams footnotes to sweethearts. 100 pages letterpress. stitched softback dustjacket. Printed by Prentsmioja Jons Helgasonar reykjavik. Published by edition Hansjorg Mayer Stuttgart. 500 numbered and rubber stamp signed copies.Photomechanischer Nachdruck, (Ranier Edition) nd. Offset printed book, paper, revised edition. This is teh copy number 76 of 500, Signed and dedicated to Jons Helgasonar in 1968. DR. CW. 20 # 36.

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Collaboration Roth
Edition et, Complete set vols 1-4 and 13-15 all published, 1966-67
1111

9 x 9 in. (23 x 23 cm)

Polke, Richter, Roth and many others. 7 volumes in all. Square portfolios with many original graphics from artists of the period. The first 4 volumes,1-4, have 20 or more artists per volume and the last 3 , 13-15, are one artist only. Rot made graphics Nummern-Malwerk on pink paper for Volume 3, Bildmaterial fur et Nr.2 for Volume 2, and for volume 15 made an artist book titled SNOW with 96 reproductions of photographs and hand written translations by the author from 'snow'(unique book now in MOMA collection) Introduction by Daniel Spoerri. DR. CW. 20 # 33. 23x23cm

Price Upon Request

Dieter Roth
book t1, 1959 facsimile, 2022
13243-BK

8 5/8 x 8 5/8 in. (22 x 22 cm)

Roth’s serial project Book (1958-64) is comprised of over 30 interactive works that exemplify the precision of concrete aesthetics. Book t1 is one of the first created for this series, constructed of twenty-five sheets with hand-cut slots cut at angles. Each loose sheet is 19x19 cm. Fifteen of these are thick, transparent Mylar in red, blue, and yellow, and ten are heavy white stock. The original work is housed in a custom black case with author and title typed on the spine in black and red. The title page includes the artist’s signature, fingerprint, and date (October, 1959). This facsimile edition holds true to the original—hand-crafted in an edition of only 30 housed in a slipcase. Book t1’s greatest intrigue is a singular experience created through the actions it invites: opening, touching, looking, flipping, layering, rotating, manipulating, arranging. Countless playful compositions are created by handling the work. Materiality and empty space serve as the content, and the reader creates dynamic activity between these. Elements confined to one page synthesize with individual elements, not only on the next page, but with several subsequent pages simultaneously. The resultant effect of handing Book t1 underscores the conceptual notion that reading should not be a passive act, but rather a creative one.

Price Upon Request

Dieter Roth
book t1, 1959 facsimile AP TBD, 2022
13480-BK

8 5/8 x 8 5/8 in. (22 x 22 cm)

Roth’s serial project Book (1958-64) is comprised of over 30 interactive works that exemplify the precision of concrete aesthetics. Book t1 is one of the first created for this series, constructed of twenty-five sheets with hand-cut slots cut at angles. Each loose sheet is 19x19 cm. Fifteen of these are thick, transparent Mylar in red, blue, and yellow, and ten are heavy white stock. The original work is housed in a custom black case with author and title typed on the spine in black and red. The title page includes the artist’s signature, fingerprint, and date (October, 1959). This facsimile edition holds true to the original—hand-crafted in an edition of only 30 copies, and housed in a slipcase.

Book t1’s greatest intrigue is a singular experience created through the actions it invites: opening, touching, looking, flipping, layering, rotating, manipulating, arranging. Countless playful compositions are created by handling the work. Materiality and empty space serve as the content, and the reader creates dynamic activity between these. Elements confined to one page synthesize with individual elements, not only on the next page, but with several subsequent pages simultaneously. The resultant effect of handing Book t1 underscores the conceptual notion that reading should not be a passive act, but rather a creative one.

Price Upon Request

Dieter Roth
Collected Works, Volume 35: 4 Novellas, 1991
1016

8 5/8 x 5 7/8 in. (22 x 15 cm)

4 volumes in plastic sleeve with plastic clips and 2 printed colophon labels affixed: BASTELNOVELLE 1- THE ORIGINAL BY MAX PLUNDERBAUM, 2nd edition, BASTELNOVELLE 2- THE ORIGINAL (PART 2) BY FAX HUNDETRAUM, 1st edition, BASTELNOVELLE 3- DAS FATAL-ORIGINAL VON WIX STUDENSCHAUM...MIT VIELEN SONNETTEN UND GEDICHTEN..., 1st edition, EIN LEBENSLAUF VON 5C JAHREN, 2nd edition (reprinted for BAND 35, 300 copies). The ORIGINAL (part 1) by Max Plunderbaum (Junktree). 48 pages, letterpress. stapled. Cover: 4colour original offsetprint by the author. Printed by Staib + Mayer, Stuttgart. Published by edition hansjorg mayer, stuttgart. London, reykjavlk, 1974. 200 numbered and signed copies.Bastel - Nouvelle Nr. 2 Das Riginal = Das Original, 2. Teil oder kann der Vorga. als der Nachfo. auftrehn?Stuttgart: Edition Hansjorg Mayer, 1975. First edition 8vo. 40 pp plus folded glossy insert. edition of one 1000 copies. [Dobke, Dieter Roth Books + Multiples, Catalogue Raisonne, pp. 217]. Bastel-Novelle, No. 3. DAS FATAL-ORIGINAL (Fatal Original) by Jerk Foames. Poems by Ratz Hundefutter (Rats Dogfood). 48 pages, letterpress. Stapled. cover: 4colour original offsetprint. Initiated by the author. Printed by Staib + Mayer, Stuttgart. Published by edition hansjorg mayer, stuttgart. Iondon, 1978. 1000 copies

Price Upon Request

Dieter Roth
Large Carpet (Bertorelli), Collection of flat waste, 1986
4350-BK

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

Contain all used or discarded material relating to the production of the Large Carpet, 3 volumes : Volume 1: approx. 250 sheet , colour photocopy with plastic dustjacket, (no lettering on th cover). Volume 2: approx. 120 sheet , colour photocopy with plastic dustjacket. Volume 3: approx. 250 sheet , colour photocopy with plastic dustjacket. Each 29.7 x 21 cm, adhesive binding · editor: Galerie Marlene Frei, for exhibition Zurich 1986 · Dieter Roth's Verlag, Basel 1986. Editions: 1. edition: black and white copy, unlimited, numbered; 2. edition: 120 colour photocopies, numbered and signed, 3 volume each.

Price Upon Request

Dieter Roth
Bastel-Novelle, No. 3. DAS FATAL-ORIGINAL (Fatal Original) by Jerk Foames, 1978
4324-BK

8 5/8 x 5 7/8 in. (22 x 15 cm)

poems by Ratz Hundefutter (Rats Dogfood), 48 pages, letterpress, stapled, cover: 4 color original offset print,, initiated by the author, printed by Staib + Mayer, Stuttgart, published by edition Hansjorg Mayer, Stuttgart, London, 1000 copies . DR. CW. 40 # 89.

Price Upon Request

Dieter Roth
Collected Works, Volume 36: 96 Piccadillies., 1977
949

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

Postcards of works 1968- 77. 128 pages, offset, 96 colour plates. 23 X 17 cm, adhesive binding. Printed by Staib + Mayer, Stuttgart. Published by edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 3000 copies. 1000 softbacks of which 200 copies in original Doublepiccadilly Painting by the Author, numbered and signed. 1000 hardbacks in slipcase, with original drawing by the author and an introduction by Dieter Schwarz for Eaton House Publishers Ltd. 1000 postcard sets, each 120 loose cards. 10.5 X 14,8 cm. with wrapper. This is the copy n. 22 of 200 . DR. CW. 40 # 87.

Price Upon Request

Dieter Roth
Collected Works, Volume 17: 246 Little Clouds. Deluxe Edition, 1976
1061

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

With an introduction by Emmett Williams. Reconstruction of the book published by something else press New York 1968. 180 pages, offset, stitched, softback, dustjacket. Printed by Staib + Mayer, Stuttgart. Published by edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 1000 copies of which 100 copies wrapped in unique blueprint, made from a film, successively changed by the author, numbered 17 of 100, dated '76 and signed . DR. CW. 40 # 86.

Price Upon Request

Dieter Roth
Bastel-Novelle, No 2. The ORIGINAL (part 2) by Fax Hundetraum (Fax Dogdream), 1975
4323-BK

8 5/8 x 5 7/8 in. (22 x 15 cm)

The ORIGINAL (part 2) by Fax Hundetraum (Fax Dogdream). 44 pages, letterpress and offset, stapled. Cover and supplement: 4colour original offset print by the author. Printed by Staib + Mayer, Stuttgart. Published by edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 1000 copies . DR. CW. 40 # 83. 22 X 15 cm

Price Upon Request

Dieter Roth
Collected Works, Volume 16: MUNDUCULUM. Deluxe Edition, 1975
948

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

Slightly corrected and enlarged version of the book. Published by Dumont Schauberg, Cologne 1967. 336 pages, offset, stitched, softback, wrapper. Printed by Staib + Mayer, Stuttgart. Published by edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 1000 copies of which 100 copies wrapped in original Stampdrawing by the author, numbered 27/100, dated 75 and signed . DR. CW. 40 # 78. 23 X 17 cm.

Price Upon Request

Dieter Roth
Collected Works, Volume 9. Stupidograms. Deluxe edition, 1975
3988-BK

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

Printed samples of the handdrawn original series 1961 to 1966. 416 pages, letterpress and offset, multicoloured, stitched, softback. Printed by Staib + Mayer, Stuttgart. Published by edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 1000 copies of which 100 copies wrapped in original drawing by the author, numbered and signed. This is number 22/100 . DR. CW. 40 # 77.

Price Upon Request

Dieter Roth
Steep Potplant, 1975
13594-PR

29 7/8 x 22 in. (76 x 56 cm)

aquatint and drypoint from 2 copper plates - dobke 323

Price Upon Request

Dieter Roth
Collected Works, Volume 12: Copley Book. Deluxe Edition, 1974-75
2340

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

Enlarged version of the book published by Copley Foundation, Chicago 1965. 40 sheets of different sizes, mostly printed on both sides, folded or collaged, offset and letterpress in cardboard box. Enlarged version of the book published by Copley Foundation, Chicago 1965. Wrapped original photograph by the author, signed and numbered 1/1.

Price Upon Request

Dieter Roth
Bastel-novelle, No 1. The ORIGINAL (part 1) by Max Plunderbaum (Junktree), 1974
4317-BK

8 5/8 x 5 7/8 in. (22 x 15 cm)

48 pages, letterpress. 22 X 15 cm, stapled. cover: 4colour original offsetprint by the author. Printed by Staib + Mayer, Stuttgart. Published by edition Hansjorg Mayer, Stuttgart. London, Reykjavik. 200 numbered and signed copies. This is the copy n 66 of 200, dedicated and dated 74 . DR. CW. 40 # 76.

Price Upon Request

Dieter Roth
Bucher, 1974
1829

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

156 pages, offset. adhesive binding, softback. Printed by Staib + Mayer, Stuttgart. Published by Kestner Gesellschaft, Hanover. 3000 copies.

Price Upon Request

Dieter Roth
Collected Works, Volume 7: Bok 3b und Bok 3d. Deluxe Edition, 1974
3376-BK

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

Reconstruction of the book 3b and 3d. Approx. 530 pages of original comics and childrens coloring books with die-cut holes. Wrapped in original multicolored screenprint by the author, signed, dated '74 and numbered 54/100 . DR. CW. 40 # 72.

Price Upon Request

Dieter Roth
Murmel, 1974
3790-BK

7 1/8 x 4 3/4 in. (18 x 12 cm)

176 pages, letterpress. stitched, softback. Printed by Rikisprentsmidja Gutenberg, Reykjavik. 232 signed copies. Dedicated and dated 8.3.74 . DR. CW. 40 # 69.

Price Upon Request

Dieter Roth
Self Portrait as Inhabitants of the Air, 1973
09743-PR

21 x 32 1/4 in. (53.5 x 82 cm)

Planographic printing. 7 colors (3 printings) on white cards. Edition of 30 copies, signed, titled and numbered 30/30.
Published by Dieter Roth Pictures,Zug
Literature Dobke 291

Price Upon Request

Dieter Roth
Collected Works, Volume 20: Books and Graphics, 1972-74
3407-BK

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

From 1947 until 1971. 384 pages, offset;. Stitched, softback. Printed by Staib + Mayer, Stuttgart. Published by edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 8000 copies of which 100 copies in 9 dust jackets each signed by the author. DR. CW. 40 # 57.

Price Upon Request

Dieter Roth
Collected Works, Volume 18: Small Works Part 1. Deluxe Edition, 1971
3482-BK

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

Published and unpublished material 1953-1966. 272 pages offset. 23 x 17 cm stitched softback. Printed by Staib + Mayer, Stuttgart. Published by edition Hansjorg Mayer Stuttgart, London, Reykjavik. 1200 copies. This is the copy number 12 Signed and dated '79. DR. CW. 20 # 52.

Price Upon Request

Dieter Roth
Collected Works, Volume 19: Smaller Works Part 2. Deluxe Edition, 1971
2037

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

Published and unpublished material 1967-1971. 304 pages offset. Printed by Staib + Mayer, Stuttgart. With screen printed foam rubber die-cut wrap around with red hand painting and original 8mm film reel by Dieter Roth. Signed and numbered.

Price Upon Request

Dieter Roth
Collected Works, Volume 5: Bok 3 a Deluxe Edition, 1971
942

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

Reconstruction of the book as published by forlag ed 1961. Approx 250 sheets cut out of Icelandic newspapers. 23 x 17 cm adhesive binding softback. Printed by various printers in Reykjavik and Akureyri. Published by Seimannsverlag former edition Hansjorg Mayer ReykjavIk, Stuttgart, Cologne, London 1970. 1000 copies of which 100 copies in multiple designed by the author (4 variations) black imitation leather embossed. this is the copy number 19/50. DR. CW. 20 # 11.

Price Upon Request

Dieter Roth
Collected Works, Volume 6: Bok 3 c. Deluxe Edition, 1971
943

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

Reconstruction of the book published by forlag ed in1961. Approx 300 sheets cut out of offset run-up sheets. Adhesive binding softback. Printed by various printers in Reykjavik. Published by edition Hansjorg Mayer Reykjavik, Dusseldorf, London. 1000 copies. This copy is numeber 92 of 100, dated 73. DR. CW. 20 # 13.

Price Upon Request

Dieter Roth
Duet, 1971
13345-PR

25 1/8 x 27 7/8 in. (64 x 71 cm)

Intaglio printing (etching and drypoint), black on white handmade paper, sections photomechanical reproduction of a drawing
edition of 30. This is #26 of 30

Price Upon Request

Dieter Roth
Ein Gedanke A Thought, 1971
13549-PR

11 1/2 x 9 5/8 in. (29.5 x 24.5 cm)

Dark green on handmade paper, etching and drypoint- edition of 20

Price Upon Request

Dieter Roth
Miniaturbucher, 1971
3815-BK

1 3/8 x 1 1/8 x 34 in. (3.5 x 3 x 2 cm)

This is one of a group of books made by the artist for an exhibition at Rywelski Galerie in Koln in 1971. Newspaper and cheese cloth, 3.5x3x2 cm. Helmut Rywelski and Roth had a big falling out in 1972, see page 143 in Roth Time. a retrospective, published by MOMA.;Provenance: Helmut Rywelski

Price Upon Request

Dieter Roth
6 Piccadillies in original publisher's box, 1970
13094-PR

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

London and New York, Petersburg Press. Series of six double-sided screenprints in colours on woodpulp board, laminated on both sides with white chromolux card. Made in an edition of 150, this is no. 48/150. Signed, dated and numbered on all prints. Very good condition.

Price Upon Request

Dieter Roth
Collected Works, Volume 10. Daily Mirror (Special Edition). Deluxe edition, 1970
4063-BK

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

Variant of 'quadrat print' published by de Jong Hilversum, 1965. 472 pages.. Offset. Stitched softback. Printed by Staib + Mayer Stuttgart. Published by edition Hansjorg Mayer, Cologne, London, Reykjavfk, 1970. 1000 copies of which 100 copies in multiple designed by the author painted corrugated cardboard. Numbered with 2 signed miniature books. 2 x 2 x 2 cm cut out of 'daily mirror' newspapers.This is the edition number 52 of 100. DR. CW. 20 # 43.

Price Upon Request

Dieter Roth
Collected Works, Volume 11, Snow. Deluxe Edition, 1970
4068-BK

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

With an introduction by the author. Photographic version of the original from1964. 256 pages offset. stitched softback. Cover design by J. Filzen New Haven. Printed by Staib + Mayer Stuttgart. Published by Waterpress former edition Hansjorg Mayer Stuttgart, London, Reykjavfk, 1970. 1000 copies of which 100 copies in multiple designed by the author, covered corrugated cardboard numbered with 2 crushed lightbulbs signed. This is the copy number 16/100. DR. CW. 20 # 44.

Price Upon Request

Dieter Roth
German Cities (Deutsche Stadte), 1970
11553-PR

24 x 33 3/4 in. (60.9 x 86 cm)

Series of 5 prints, screen printing, 1 color [on planographic printing (offset), black on white card, photomechanical reproduction of 25 postcards]. Offset printed by Staib + Mayer, Stuttgart. Screenprinted by Larl Löw, Stuttgart.

Price Upon Request

Dieter Roth
Collected Works, Volume 15. Poetrie 5 bis 1 (Special Edition). Deluxe edition, 1969
4062-BK

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

Review for positioning, pometry, poeting and poetry. 220 pages offset. Stitched softback. Printed by Staib + Mayer, Stuttgart. Published by edition Hansjorg Mayer, Cologne, London, Reykjavik. 1000 copies of which 100 copies in multiple designed by the author. Painted rubber mat, numbered with 2 signed polaroid color photographs reproduction of 'poesy no 1'. '32 heavier clouds for hansjorg mayer', 'poesy no 2', 'poeting 3/4', 'poesitioning no 5' (first edition). DR. CW. 20 # 42.

Price Upon Request

Dieter Roth
Die Kakausener Gemeine, 1968
4113-BK

18 1/2 x 13 in. (47 x 33 cm)

Sunday supplement of the newspaper for kakausen and surroundings part 1. Serialized novel in form of a newspaper. 12 pages offset. Stapled. Printed by Staib + Mayer Stuttgart. Published by edition Hansiorg Mayer Stuttgart. 1000 copies. DR. CW. 20 # 37.

Price Upon Request

Dieter Roth
16 4 66 (Sechzehn-Vier-Sechsundsechzig)., 1966
13439-BK

18 5/8 x 13 3/8 x 2 in. (47.5 x 34 x 5 cm)

Stuttgart: Edition Hansjörg Mayer / Edition Domberger. Original red boards, printed in black, blue linen slipcase. Edition of 150 regular copies plus 40 deluxe copies, this being #19 of 40 deluxe issue with all prints signed. Artist’s book portfolio composed of 16 loose sheets, folded in the manner of book, with double pages printed on both sides with artist’s original graphic contributions and three sheets of text (title page, biographies, forewords by Siegfried Maser and Dieter Honisch). This artist’s portfolio was created partly using the letterpress method (by Hansjörg Mayer), and partly using the screen-printing method (Domberger). The sheets with the artist’s contributions are each numbered and signed on one side. Published in an edition 150 copies. The signed works are by: Max Bense, Klaus Burkhardt, Siegfrid Cremer, Reinhard Döhl, Hein Gravenhorst, Helmut Heissenbüttel, Rudolf Hoflehner, Herbert W. Kapitzki, Erhard Karkoschka, Günther C. Kirchberger, Hansjörg Mayer, Frieder Nake (computer art), Günther Neusel, Yüksel Pazarkaya, Dieter Roth, and K.H.R. Sonderborg.

Price Upon Request

Dieter Roth
FUTURA 1 - 26. For reading out Loud), 1965-66
4359-BK

9 1/2 x 6 3/4 in. (24 x 17 cm)

A complete set of this important journal/broadsheet of 26 issues of concrete poetry published from 1965 - 1968. Mostly a single artist per issue the artists were; Mathias Goeritz, Klaus Burkhardt, Max Bense, Reinhard Dohl, Louis Zukofsky, Bohumila Grogerova, Josef Hirsal, Job Boi, ian Hamilton-Finlay, Claus Bremer, Augusto de Campos, Edward Lucie Smith, Dieter Rot, Emmett Williams, Frieder Nake, Carlo Belloli, Jonathan Williams, Hiro Kamimura, Wolfgang Schmidt, Pierre Garnier, Bob Cobbing, Edwin Morgan, Dick Higgins, Wolf Vostell, Herman de Vries, Peter Schmidt, Andre Thomkins, Robert Filliou. This set is in mint condition, often the folds have become worn but in this case a crisp clean set. See 'Eye on Europe, Prints, Books &Multiples 1960 to now' Deborah Wye, Wendy Weitman, The Museum of Modern Art, New York colour illus p 91. Futura 11. 8 pages, letterpress. Printed by Staib + Mayer, Stuttgart. Edition of 1000.

Price Upon Request

Dieter Roth
Book cc, 1965
1156

15 x 15 in. (38 x 38 cm)

In paper over board black box with Diter Rot Edition MAT collection 64 on spine. Dieter Roth BOOK CC, IDEA 1958, HANDCUT FOR MAT 1965, NR 85/100 with fingerprint in black ink. 18 red and blue hand-cut slots in various degrees (90, 75, and 60 degrees) in various sizes ( .2, .5, 1. 1.5, 3.5 and 6.5cm). DR. CW. 20 # 4. 38x38 cm

Price Upon Request

Dieter Roth
Quadrat Print, 1965
1188

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

60 loose sheets printed on both sides offset. Printed and published by steendrukkerij de jong Hilversum. 1000 copies promotion piece enlargements from 'daily mirror book'. Inside a folded page with the quote " Note from the editor to this Quadrat-Print.Dieter rot wrote me from reykjavik, iceland: They are part of a group of books I made in the year 1962 out of a bunch of Daily Mirrors”. “Instead of showing quality ( surprising quality) we show quantity ( surprising quantity). I got the idea ( Quantity instead of Quality) in this way: “QUALITY” in Business (f.i. advertising) is just a subtle way of being Quantity-minded. Quality in advertising wants expansion and ( in the end) power = Quantity. So, let us produce Quantities for once!”The editor". This copy has being shipped to 'De Heer H. de Leuw in Amsterdam.. DR. CW. 20 # 20. 25 x 25 cm

Price Upon Request

Dieter Roth
Quick, 1965
935

1 1/8 x 1 3/8 in. (3 x 3.5 cm)

Approx 150 sheets cut out of the magazine 'quick'. adhesive binding softback. Published by d. rot Reykjavik. Approx 150 signed copies.This is the copy n 105. DR. CW. 20 # 23. 3 x 3,5 cm

Price Upon Request

Dieter Roth
Book AC, 1964
1136

16 1/8 x 16 1/8 in. (41 x 41 cm)

Portfolio with 24 sheets of card 12 white 12 black with diecut slots. Published by ives-sillman New Haven. 250 numbered and signed copies; this is copy 44 of 250. DR. CW. 20 # 4.

Price Upon Request

Dieter Roth
Nova Tendencija 3 & Nouvelle Tendance, 1964
13097-BK

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

Nouvelle Tendance (New Tendency) was an art movement founded in Yugoslavia in 1961, but soon became international in scope. Distinct groups of artists who became associated with Nouvelle Tendance included GRAV, Gruppo T, Gruppo N, and Zero. Included are 2 catalogues of influential group shows: Propositions visuelles du mouvement international Nouvelle Tendance. Musée des Arts Decoratifs, Paris, 1964. Edited by Michel Fare and Karl Gerstner. 105 pp. Artists and collectives included Demarco, Richter, Riley, Uecker, Equipo 57, Groupe de Recherche d'art Visuele, Groupe T and Groupe N. among others. Text in French. + Nova tendencija 3, Galerija suvremene umjetnosti, Zagreb, 1965. 20 x 21 cm, 180 pp. Rare document of a large international group exhibition in Zagreb in 1965. Featuring Gerstner, Von Graevenitz, Mestrovic, Morellet, Munari, De Vries, Rot, Peeters, Ricerca Cibernetica Gruppo, Equipo 57 and others. Text in French, Italian, German, English, Russian and Yugoslavian. Plus 14 pages with stapled program information about Nova tendencija 4, dated November 1968.

Price Upon Request

Dieter Roth
4 Leikpaettir (4 Short Plays), 1963
10122-BK

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

First edition. Octavo. 89 pages. Book of theatrical plays written by Roth's brother-in-law, Oddur Björnsson, with 5 illustrations of embossed doilies, one on the cover and four inside the book. Published in an edition of just 300 copies. Rare.

Price Upon Request

Dieter Roth
bok 2b, 1961
3426-BK

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

Approx. 50 pages, letterpress on double sheets, monotype setting, spiralbinding. Letterpress on double sheets, monotype setting. Printed by Prentsmioia Jóns Helgasonar, Reykjavik. Numbered and signed 41 of 100(approx. 10 copies destroyed). DR. CW. 20 # 8.

Price Upon Request

Dieter Roth
bok 3a, 1961
13363-BK

7 x 7 3/8 x 1 1/2 in. (18 x 19 x 4 cm)

Original plain wrappers with title label pasted to front, adhesive binding. A book block composed of approx. 300 leaves from Icelandic daily newspapers; the contents, with their cyclical repetitions, suggest that a stack of remainder newspapers was cut to size to form the book block. Edition of 200 copies, with approx. only 50 of those ever being made. Numbered and signed by Roth on the front cover. Copy #12 of 200. This copy inscribed to a friend with a quote from Goethe - "wie es auch sei, das leben, es ist gut" (No matter what, life is good). Assembled from found material in the printshop, these books were issued in small editions, each volume unique, as the contents were dictated by what was available in the printshop floor at the time

Price Upon Request

Dieter Roth
bok 3a, 1961
3422-BK

7 7/8 x 7 7/8 in. (20 x 20 cm)

approx 300 sheets cut out of icelandic newspapers. adhesive binding softback. Printed by various printers in Reykjavik. Published by forlag ed Reykjavik. Copy Number, signed and dated 1961. Approx 50 copies made. DR. CW. 20 # 11. Exhibited MOMA 2013. Collection Jons Hjalmarsson

Price Upon Request

Dieter Roth
bok 3c, 1961
3423-BK

8 5/8 x 8 5/8 in. (22 x 22 cm)

approx 300 sheets cut out of coloured offset. Run-up sheets. 22 x 22 cm adhesive binding softback. Printed by 3 offset printers in Reykjavik. Published by forlag ed Reykjavik. Approx 40 copies. This is the the copy number 12/100, signed and dated 61. DR. CW. 20 # 13. Collection Jons Hjalmarsson

Price Upon Request

Dieter Roth
bok 4a, 1961
13190-BK

15 5/8 x 11 in. (40 x 28 cm)

artists book approx. 80 pages, letterpress on double sheets, spiral binding. Copy # 3 of 100. Inscribed "for Einar Bragi 16.2.61"

Price Upon Request

Dieter Roth
bok 5a, 1961
3425-BK

8 5/8 x 11 in. (22 x 28 cm)

approx 60 pages offset on doublesheets. 22 x 28 cm spiralbinding. printed by litbra Reykjavík. Published by forlag ed Reykjavik. 100 numbered and signed copies. Approx 95 copies destroyed. This is copy #28/100. DR. CW. 20 # 10. From collection Jons Hjalmarsson

Price Upon Request

Dieter Roth
Dagblegt Bull - Daily-BÁ»l No. 8., 1961
1320

1 1/4 x 1 3/8 in. (3.3 x 3.6 cm)

no 8 of the review 'daily bul'. Published by A. Balthazar and P. Bury. La Louviere. Approx 150 sheets cut out of coloured offset. Run-up sheets. Adhesive binding papercover. cardboard box. correct title 'daglegt bull'. DR. CW. 20 # 17.

Price Upon Request

Dieter Roth
Untitled (Puzzle), 1961
6503-PR

22 1/16 x 22 3/4 in. (56.1 x 57.8 cm)

50 Pavetex equilateral triangles; white silkscreen.
Provenance: Dadi Wirz

Price Upon Request

Dieter Roth
bok 2, 1960
3396-BK

12 5/8 x 7 1/8 in. (32 x 18 cm)

72 pages letterpress on double sheets. Monotype setting. 32 x 18 cm spiralbinding. Printed by d. rot. Published by forlag ed Reykjavik. one of 23 copies with inscription to Manfred!

Price Upon Request

Dieter Roth
bok 2a, 1960
929

9 7/8 x 7 1/8 in. (25 x 18 cm)

65 pages letterpress on double sheets. Monotype setting. Spiralbinding. Printed by d. rot. Published by forlag ed Reykjavik.1 of 35 copies dated and signed unique items. This copy is dedicated to Norman Yves 1961. DR. CW. 20 # 7

Price Upon Request

Dieter Roth
material 1, 2(ideogramme) with 2 supplements, 3, and 5- rare complete set, 1957-59
4130-BK

7 7/8 x 8 1/4 in. (20 x 21 cm)

Artist magazine of concrete poetry. Volume 1:35 pages hectographed, copied, typed, tipped-in, heavy black covers, oversewn with brass clasps. typed and stenciled; Edition of 300. Contributions by Josef Albers, Louis Aragon, Carlo Belloli, Claus Bremer, Bazon Brock Eugen Gomringer, Helmut Heissenbuttel, Anthony Kok, Diter Rot, Marc Sabathier-Leveque, Spoerri, and Nicolaus Werkman. Volume 2 of the review 'material'. Published by d. spoerri darmstadt 1959. Main part. 62 pages small offset. 20 x 21 cm rivetbinding. 200 copies. Supplement 1- 40 pages black and white sheets alternating. 20 x 21 cm rivetbinding. 100 copies. supplement 2-12 pages small offset. 29,7 x 21 cm stapled. 100 copies. Volume 3 Emmett Williams/konkretionen: 31 single-sided pages, various typed and manipulated papers, 29,7 x 21 cm. Volume 4-unpublished. Volume 5 Pol Bury(object) and Gherasim Luca(poems) white printed folded paper with letterpress text and black paper object with black die cut holes holding within 6 white sheets with diecut circular shapes which move when you hsake the object. Very rare to have this piece.

Price Upon Request

Dieter Roth
KINDERBUCH/ Children's Book, 1957
3398-BK

12 5/8 x 13 3/8 in. (32 x 34 cm)

28 pages, 4 colour letterpress, geometric shapes with handcut and diecut holes. Spiralbinding printed by holar prent reykjavik. Published by forlag ed Reykjavik. Approx 25 signed copies (with cutouts). Approx 75 unsigned copies (without cutouts). Manfred's second copy also shown in 1994 Dieter Roth show at Living Art Museum in Reykjavik.

Price Upon Request

Dieter Roth
KINDERBUCH/ Children's Book- Rare hand cut version, 1957
3397-BK

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

28 pages, 4 colour letterpress, geometric shapes with handcut and diecut holes. Spiralbinding printed by holar prent reykjavik. Published by forlag ed Reykjavik. Approx 25 signed copies (with cutouts). Approx 75 unsigned copies (without cutouts). DR. CW. 20 #1

Price Upon Request

Dieter Roth
Spirale 1 - 9, 1953-64
2339

Probably the most significant document recording Swiss art - especially abstract and Concrete art - in the 1950s and early ’60s, Spirale was the handiwork of Dieter Roth and edited by him with artist Marcel Wyss and Concrete poet Eugen Gomringer (who became recognized for his ‘constellations’ and one-word poems). Their objective recalled the best intentions of magazines from 20 and 30 years earlier to publish a magazine that would ‘embrace poetry, the plastic arts, graphics, architecture and industrial design’. Conceived in 1951, the magazine did not start publishing until 1953. At the same time, and over the course of the life of the magazine, Roth was involved in up to six other independent publishing projects. Although the design and illustrations for the magazine indicate Roth’s committed Constructivist phase, when it folded after nine issues in 1964, he shifted gears from the ‘universal aesthetic language’ to the more ephemeral, personal works for which he may be best known, but Spirale set in motion his obsession with self-publishing, which was a source of the enormously popular trend for photocopied books and early ’zines in the 1970s. Roth’s contributions to the ‘conventions of the page [as] subject-matter [where] a turning page becomes a physical, sculptural element rather than an incidental activity’, set the precedent for future experiments in art magazine publishing that questioned and deconstructed the form of the ‘book’ and presaged a great era in self-publishing. Rare to find a complete set in such fine condition.

Price Upon Request

Dieter Roth
Dieter Roth Graphics, 1952 to 1974
13580-OR

A collection of 26 works (eight of which have multiple images) that exemplifies the breadth of
the artist’s productivity in print shops over a dynamic 22-year period.
A list of some of the techniques Roth employed:
1952 – woodblock print, Spirale 1
1954 – metal relief printing, New Year’s Greeting
1957 – screen print, two color (green and red), UNTITLED
1957 – linoleum block printing, kinderbuch
1958 – photolithograph printing of tape pieces, two color, untitled
1960 – rubber stamp drawing on typed letter to poet André Balthazar
1960 – commercial Iris printing with die-cut holes, Folder designed for Festival d'Art d'Avant-Garde
1961 – screen print with die-cut holes, BEWOGEN BEWEGING
1961 – letter press, book 2b
1961 – photo lithographs from rubber stamp drawings, book 4a
1962 – appropriation of commercial printing- Icelandic POST CARD, untitled
1962 – pencil drawing with letterpress, stupidogram
1963 – photographic unknown reproduction of a symmetric machine drawing, untitled
1963 – embossed drawing with printing plate Wasserhut
1964 – stamp drawing with metal, Feather Fringe, self-dissipating
1969 – multicolor screen prints from a postcard onto color offset, Piccadillies
1970 – solid color screen print on offset, German Cities
1971 – etching and dry point, Duet
1971 – photographic etching with halftone from a polaroid, Icelandic landscape
1972 – etching with food pressings - various 3-dimensional objects added, Containers
1973 – planographic printing, Self Portrait as Inhabitants of the Air
1974 – etching and dry point with photographic etching process for the background, Double
heads

Price Upon Request

Ed Ruscha
Thirty Four Parking Lots, 1967
1535

10 x 4 in. (25.4 x 10.3 cm)

Los Angeles: self-published.
2413 copies. 31 plates. (final one with small gatefold tag). [48] pp.
White wrappers printed in dark orange, with glassine cover. Photographs by Art Alanis.
In very good condition. 25.4 x 20.3 cm. Engberg B5.
* Inscribed “To Henry, Best Wishes, Ed Ruscha” and includes an invitation to a book signing party and preview of the painting LA County Museum on Fire, from the Irving Blum Gallery, on January 28, 1968.

Price Upon Request

Boris Savelev
Anthology, 2022
13473-BK

20 3/8 x 16 1/8 x 5 in. (52 x 41 x 13 cm)

Eight portfolios, each with a text by the artist and containing 12 images, housed in a custom cloth slip case. The complete set, containing 96 images in total. The images are C-Prints on Fujicolor RC paper, mounted onto Canson 400 gm. Format varies between square (30x30cm) and rectangular (25x38cm). Published by Factum Arte, Madrid. The portfolios and slipcase were made by Rob Hadrill at Book Works in London. Titles of each portfolio in date order: Humble man, 1974 – 1979 Red Arrow, 1980 – 1986 Secret City, 1981 – 1985 Bolshoy, 1985 - 1986 Kodachrome, 1987 - 2009 My Czernowitz, 1987 - 2021 Digital World, 2000 – 2021 Depot, 2019 - 2020

Price Upon Request

Dieter Roth Scheisse Serie
Die die Die DIE GESAMTE VERDAMMTE KACKE (The the The THE COLLECTED DAMNED CRAP), 1975
4322-BK

10 1/4 x 7 1/8 in. (26 x 18 cm)

(The the The THE COLLECTED DAMNED CRAP). 192 pages, offset, adhesive binding. hardback. Printed by Rainer Pretzell, Berlin. Published by Rainer Verlag, Berlin and edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 400 numbered and signed copies . DR. CW. 40 # 80.

Price Upon Request

Dieter Roth Scheisse Serie
Die die Die DIE GESAMTE VERDAMMTE SCHEISSE (The the The THE COLLECTED DAMNED SHIT), 1975
4321-BK

10 1/4 x 7 1/8 in. (26 x 18 cm)

(The the The THE COLLECTED DAMNED SHIT). 344 pages, letterpress, adhesive binding, softback, dustjacket: 4 colour original offsetprint by the author. Printed by Dr. Cantz'sche Druckerei, Stuttgart. Published by Dr. Cantz'sche Druckerei, Stuttgart and edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 400 numbered and signed copies . DR. CW. 40 # 79.26 X 18 cm

Price Upon Request

Dieter Roth Scheisse Serie
Die die Die DIE verdammte GESAMTE KACKE, 1975
3465-BK

10 1/4 x 7 1/8 in. (26 x 18 cm)

(The the The THE damned COLLECTED CRAP). 196 pages, offset, multicolored, adhesive binding, hardback. Printed by Rainer Pretzell, Berlin. Published by Rainer Verlag, Berlin and edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 400 numbered and signed copies . DR. CW. 40 # 81.

Price Upon Request

Dieter Roth Scheisse Serie
Die die Die DIE verdammte GESAMTE SCHEISSE (The the The THE damned COLLECTED SHIT), 1975
4320-BK

10 1/4 x 7 1/8 in. (26 x 18 cm)

(The the The THE damned COLLECTED SHIT). 260 pages, offset, multicoloured, adhesive binding, softback, dustjacket. 4 colour original offset print by the author. Printed by Dr. Cantz'sche Druckerei, Stuttgart. Published by Dr. Cantz'sche Druckerei, Stuttgart and edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 400 numbered and signed copies . DR. CW. 40 # 78. 26 X 18 cm

Price Upon Request

Dieter Roth Scheisse Serie
Fruhe Schriften und typische Scheisse, 1975
3457-BK

7 1/8 x 4 1/2 in. (18 x 11.5 cm)

(Early Writings and Typical Shit). Selected and with a heap of partly digested stuff by Oswald Wiener . 272 pages, offset, adhesive binding, softback . Printed by Druck- und Verlagsgesellschaft mbh, . Darmstadt . Published by edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 1200 copies '(of the edition published by Sammlung. Luchterhand, No. 125, 1973) with additional cover . DR. CW. 40 # 68.

Price Upon Request

Dieter Roth Scheisse Serie
die Die DIE GESAMTE SCHEISSE, 1974
3472-BK

10 1/4 x 7 1/8 in. (26 x 18 cm)

192 pages, letterpress. Adhesive binding, hardback. Printed by Rainer Pretzell, Berlin. Published by Rainer Verlag, Berlin and edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 400 numbered and signed copies . DR. CW. 40 # 75.

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Dieter Roth Scheisse Serie
die Die DIE VERDAMMTE SCHEISSE (the The THE COLLECTED SHIT), 1974
4327-BK

10 1/4 x 7 1/8 in. (26 x 18 cm)

160 pages, offset, multicolored. Adhesive binding, hardback. Printed by Rainer Pretzell, Berlin. Published by Rainer Verlag, Berlin and edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 400 numbered and signed copies . DR. CW. 40 # 74.

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Dieter Roth Scheisse Serie
Scheisse - Roth, Dieter. Frische Scheisse oder: Die Korrumpierung der Germanistik, 1972
3977-BK

9 7/8 x 6 7/8 in. (25 x 17.5 cm)

208 pages, letterpress, 25 X 17,5 cm, stitched, softback, dustjacket 5 colour screenprint (numbered and signed unique prints). Supplement: original print, letterpress, black on make-ready paper. Numbered 103/200, dated '72 and signed. Printed by Staib + Mayer, Stuttgart. Published by Verlag in Reykjavik. 200 numbered and signed copies. DR. CW. 40 # 61.

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Dieter Roth Scheisse Serie
Die gesamte Scheisse. Gedichte und Zeichnungen von Diter Rot, 1968
4326-BK

9 7/8 x 7 1/8 in. (25 x 18 cm)

poems and drawings by dieter rot. 160 pages letterpress and offset. Adhesive binding softcover slipcase. Designed and printed by R. Pretzell Berlin. Published by Rainer Verlag Berlin. 400 numbered and signed copies. Nearly all 'shit' poems from 'shit', 'still more shit', 'mundunculum', 'poesy 2', 'snow'. DR. CW. 20 # 38.

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Dieter Roth Scheisse Serie
Scheisse, 1966
3921-BK

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

104 pages, offset and letterpress, handsetting and typewriter. Printed by D. Rot and students of Rhode Island School of Design. Inscribed to Malcolm Grear in 66 .Edition number 5/200. DR. CW. 20 # 24. New poems by diter rot with a supplement by al fabri. 104 pages offset and letterpress handsetting and typewriter. Stapled or adhesive bound softback. Printed by d. rot and students of rhode island school of design. Published by edition hansjorg mayer stuttgart. 200 numbered and signed copies. thereof 170 copies lightblue papercover, 30 de luxe copies half linen and wallpaper with 2 numbered and signed copperplate. Engravings on folded sheet 1 de luxe copy hors com,merce leatherbound. Incl udi n.g a 11 copperplate engravings made for this edition. (see graphics index no 82 and 83).

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Dieter Roth Scheisse Serie
Sheisse Book, deluxe with two etchings, 1966
4087-BK

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

new poems by diter rot with a supplement by Al Fabri. 104 pages offset and letterpress handsetting and typewriter. This is one of the 30 de luxe copies half linen and wallpaper with 2 numbered and signed copperplates, engravings on folded sheet, 1 de luxe copy hors commerce leatherbound. Including a 11 copperplate engravings made for this edition. This is copy #' Extra copy' dated "Juni 1966" with the dedication "fur R.R. von D.R.". DR. CW. 20 # 24. 23 x 15 cm Bought directly from Rudolf Rieser.

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Wolfgang Schmidt
buch 7 quadratschnitte, 1966
13472-BK

10 1/8 x 10 1/8 in. (26 x 26 cm)

Frankfurt am Main: Typos Verlag, 1966. First Edition of 100. Spiral bound square with cellophane wrappers. Playful sculptural work with black and red silkscreened pages die cut in various squares and angles. Aging and wear mostly at the corners of the book. 48 pp. Seventh artist’s book by Schmidt. Rare.

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Kamisaka Sekka
UTA-E, 1934
2221

1 volume, cloth, ribbon bound covers, paper label. 25 color full page images after designs by Sekka. As Sekka's last work, it crowns his remarkable career with a lovely evocation of Kôetsu's Saga-bon. (For more on this important work, see Hillier's description on p.976 of the second volume of his ART OF THE JAPANESE BOOK.) The condition is much better than average, with relatively little of the offsetting from the prints to the poems that is usual in this book. The printing is very good, the colors striking. It is a very good copy overall. Housed in the original titled and clasped chitsu case which shows general soiling all over, with some folds starting and one small chip; and the title label is chipped near the bottom. One volume (complete)

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Kamisaka Sekka
Shikishi, 1901
2220

2 folios, Volume one has 2 color prints and 30 b+w sumi prints, volume two has 30 b+w sumi prints. An interesting design book of subtlety. The cords are largely missing a very good printing in the best condition we have seen of this fragile book. Cord-bound fukuro-toji Japanese style with the title printed on the covers. Complete.

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Owen Simmons
Book of Bread, 1903
1106

11 color and 27 black and white photographs(8 tipped in), 2 pasted-in silver gelatin prints. A companion volume to 'that most excellent "Book of Cakes"', according to Simmons the Book of Bread is a monograph about the manufacture of bread and "however critical readers might be, they will be forced to admit that never before have they seen such a complete collection of prize loaves illustrated in such an excellent manner." Although the photographer was never credited, this book "one of the humblest, yet most essential of objects is catalogued as precisely, regorously and objectively as any work by a 1980s Conceptual artist".

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Jamaguchi Soken
Soken Gafu Soka No Bu, 1804-06
2287

11 3/8 x 8 5/8 in. (29 x 22 cm)

Three Volumes. Yamaguchi Soken lived from 1759 to 1818 in Kyoto, a distinguished pupil of Okyo. He was skilled at figures, landscapes, flowers and genre subjects. The link with Okyo, his dwelling in Kyoto and the period of his life make him very central in the Shijo subject. These three volumes described by Mitchell, pages 498-9, show great skill and sensitivity in every use of black and shades of grey, to illustrate plant forms. The compositions across two pages are fine instances of early sensitivity in these books, both bold and in each instance characteristic of the habits of the plants or grasses. Nothing is too simple for illustration and each receives treatment as from the inside of the plant's growth. We again see in Soken's work, or in his engraver's treatment of it, the granulated effect which fascinates Hillier. Many instances of double-page illustrations in this book are extraordinary displays of printing and of design and flower art. These three volumes are in their original embossed grey covers and title labels, though the first volume has probably been united with the other two at some stage for its covers are worn and frayed, whereas the other two are fresh. It could even be an earlier issue, the paper specially soft and delicate, but that is not more than a guess. The Mitchell copy was bound together as one volume. Hillier has a great deal to say about Soken. Of this particular book Hillier writes ' This is a masterpiece and it is as much as triumph of the woodblock makers as it is of Soken'. He becomes quite lyrical about it: 'Soken was not an explicit mystic: he drew his leaves and flowers with firm lines and unerring decorativeness, but occasionally, aided by block cutters who acted like an intensifying prism, his prints reached down to depths of our being with reactions on our part that cannot be rationalised'. This is the book Hillier takes as a particular instance of the effects which fascinated him, achieved by lowering parts of the block and by the granulation of ink tone. Several are reproduced. HIllier 536-7

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Stackhouse
Nereis Britannica; containing all the species of Fuci, natives of the British Coasts: with Description in English and Latin., 1795-1801
648

Folio. pp. xl, 112, 7, with 2 title-vignettes and 17 handcoloured or colour-printed engraved plates and 7 watercolour drawings. Contemporary half morocco (a little worn). Nissen BBI, 1885. A rare complete copy with the appendix and the 7 watercolour drawings only found in some of the copies. Rare with the coloured drawings which were only issued to subscribers on request. Stackhouse (1742-1819), a Cornish botanist, devoted himself to the study of seaweeds and of the plants mentioned by Theophrastus. About 1775 he erected Acton Castle at Perranuthnoe for the purpose of pursuing his researches in marine algae. The `Nereis Britannica,' which was issued in parts, deals mainly with the seawracks or fuci, and was based on his own researches, together with those of his friends, Thomas Jenkinson Woodward, Dawson Turner, Dr. Samuel Goodenough, Lilly Wigg, John Pitchford, and Colonel Thomas Velley, and the herbaria of Dillenius, Bobart, and Linnaeus. The work is considered important in the history of botany as in it, Stackhouse breaks away from the Linnaean nomenclature generally accepted by algologists. Nissen BBI, 1885; Pritzel 8888; Stafleu 12,728; Henrey II, pp 159-161. A footnote on page xxv states: "For the accomodation of those . who may wish to have delineated Specimens of the whole Genus in one work, I shall leave Drawings with a Lady who has coloured the plates for this work, of all the species enumerated in the Appendix, and sets to bind up with the work will be ready to be delivered on application to the Publisher"." . deals entirely with common seaweeds found on the shores of Great Britain. It is an important book in the history of botany, for, until that time, algologists generally accepted Linnaean nomenclature. Stackhouse, however, was the first to break away from this custom" (Henrey II, p. 159).

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Mike & Doug Starn
Ani-San, samukaro? Omae samukaro?, 2007/2008
2174

40 pages with 19 B&W Illustrations, each wrapped in a unique vintage kimono fabric each having one photograph from the book on gampi paper with encaustic, signed and numbered housed in a bass wood box. A hand crafted bass wood Japanese box houses a unique signed photograph; inkjet on gampi paper, hand coated with encaustic, under which the book is found wrapped in an indigo vintage kimono fabric. The package is tied with red and white cords, each one with a small paper flag inscribed with a question from the title. The story reveals the significance of the book wrapped in a threadbare kimono under the snow. Each book is hand-made, thread bound using traditional Japanese techniques, with 19 photo- micrographs of snow crystals that were shot by the artists during snowstorms between 2004 and 2006. The images are printed on gampi paper, the back of each image is hand-painted with white acrylic and then finally the image is brushed with a single stroke of varnish. A signed colophon is inside the box.

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Rudolf Steiner
Wege zu einem neuen Baustil, 1957
595

An important book about the Goetheanum in Dornach, Switzterland which is 15 minutes from Basel. The book contains photographs and drawings of architectural details of the buildings on the site.

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Sato Suiseki
Meika Gafu, 1814
441

The gafu of Suiseki are amoung the graphic masterpieces of Japanese Books, and his reputation resides almost exclusively on them and on his work in a few other books: only a handful of album drawings and one or two scarcely characteristic kakemono paintings are known...there is very little color in this Gafu. different tones of sumi prevail, and even the decorative colored patterns on clothes are in low key..The outlines are course but the forms are solid and heavy." Hillier, 752-56 This book is scarce in any state.

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Yutaka Takanashi
No One, 2007
2040

VOL. 11 Yutaka Takanashi photographs Michel Bulteau text Olivier Andreotti case In the style of a supernatural tale, Michel Bulteau leads us through the meanderings of a certain Monsieur Poussière (Mr. Dust). His hands deep in his coat pockets, he ventures through the outskirts of Tokyo, entering deserted houses–photographed in great detail by Takanashi–and acquainting us with their objects. The photographs with their ever-present absence of human beings, set to the erring steps of Monsieur Poussière plunge us into an almost metaphysical atmosphere. The text follows the outlines of geometric shapes in gray and copper, influenced by traditional Japanese fabric designs. Yutaka Takanashi Yutaka Takanashi is a major figure of the self-called, avant-garde movement, “Provoke,” that came to life in the 1960s. The pensive, meditative pessimism that is so characteristic of his work is altogether distinct from the nihilistic rage of a Daido Moriyama. He has published a number of now cult books, among the most famous being Toshi-e (1974), Machi (1977), and Tokyojin (1983). 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 2/3 6 original signed photographs (chromogenic prints), mounted on cardboard Case made of painted plastic 48 x 51,7 x 4,8 cm Text in French and Japanese Limited edition of 35 copies November 2007 Graphic design: Olivier Andreotti tale, Michel Bulteau leads us through the meanderings of a certain Monsieur Poussière (Mr. Dust). His hands deep in his coat pockets, he ventures through the outskirts of Tokyo, entering deserted houses–photographed in great detail by Takanashi–and acquainting us with their objects. The photographs with their ever-present absence of human beings, set to the erring steps of Monsieur Poussière plunge us into an almost metaphysical atmosphere. The text superimposed over stylized patterns taken from Japanese fabric. The traycase draws its cue from innovations in Tokyo’s architectural constructions, the volume being carefully calibrated to meet restrictions in height and depth. Artist: YUTAKA TAKANASHI Yutaka Takanashi is a major figure of the self-called, avant-garde movement, “Provoke,” that came to life in the 1960s. The pensive, meditative pessimism that is so characteristic of his work is altogether distinct from the nihilistic rage of a Daido Moriyama. He has published a number of now cult works, among the most famous being “Toshe-e” (1974) and Tokyojin (1983).

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Yutaka Takanashi
Jinzo, 1979
1765

Hardcover with printed dust jacket and bellyband. 67 black and white photographs by Yutaka Takanashi. In "Jinzo", Takanashi pays homage to artistic disciplines that inspire him, with portraits of writers, painters, actors, singers, musicians and comic book authors and illustrators".

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Takeuchi SEIHO after Tsuchida EISHO
Eisho Hyaku-cho Gafu [Pictures of one hundred birds from works by Eisho]
2218

Volume I (of 2) only, folio (13 1/8 x 9 inches). Title and 6pp. text, 50pp woodcut illustrations of birds (47 pages with hand-colouring). Typical concertina fold-out form, original wrappers, upper cover with sprinkling of gold leaf and title blocked in black, sewn with purple thread, purple silk bands to head and foot of spine; An excellent representative sample with beautifully observed prints. The very fine illustrations are apparently by Takeuchi Seiho after the originals by Tsuchida Eisho. They take the form of a series of visual notes, recording the attitudes of the birds as well as details of their tails, wings or flight. The 19 different species shown include an eagle, a magpie, a wading bird, various seed-eating birds, two different kinds of heron, a bittern, tits and song birds. The lay-out of the pages varies greatly but is generally governed by the size of the bird shown: a number of the smaller birds are shown with up to five studies of one species on a single page, whilst the various studies of the eagle are spread over ten pages. 12 of the compositions showing larger birds are spread over double-pages. L.N. Brown Block Printing and Book Illustration in Japan (London: 1924) p.202; C.H. Mitchell & Osamu Ueda The Illustrated Books of the Nanga, Maruyama, Shijo and other related schools of Japan A biobibliography (Los Angeles; 1972) p. 249.

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Dieter Roth Tears Serie
Unterm Plunderbaum. Das Weinen no.2. = Das Wahnen Volume 2B. TRANENEMEER 5, 1979
4118-BK

6 7/8 x 4 7/8 in. (17.5 x 12.5 cm)

528 pages, offset. Sttrched, softback, cover painted by the author. Edited by Dieter Roth and Hansjorg Mayer, Published by edition hansjorg mayer, Stuttgart, London. Edition of 200.

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Dieter Roth Tears Serie
DAS WEINEN : DAS WAHNEN BAND 2A (TRANENMEER 4), 1978
4078-BK

14 5/8 x 5 1/8 in. (37 x 13 cm)

(Sea of Tears 4), 152 pages, letterpress, stitched, softback, printed by Staib + Mayer, Stuttgart, published by edition Hansjorg Mayer, Stuttgart., London, and Dieter Roth's Verlag, Zug. 400 numbered and double signed copies . DR. CW. 40 # 88.

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Dieter Roth Tears Serie
Dars Wahnen (Tranenmeer 3), 1974
1395

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

Reconstruction of the books published by forlag ed. Reykjavik 1961. c. 530 pages, original Comics and Childrens. Colouring Books with diecut holes. adhesive binding, softback. Printed by Staib + Mayer, Stuttgart. Published by edition Hansjorg Mayer, Stuttgart, London, Reykjavik,, 1974. 1000 copies. of which 100 copies wrapped in original. multicoloured screen print by the author. numbered 132 of 200 and signed. Printed by Frank Kicherer, Stuttgart . DR. CW. 40 # 71.

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Dieter Roth Tears Serie
Das Tranenmeer((Sea of Tears) and Das Tranenmeer BAND 2, 1973
3989-BK

7 5/8 x 5 1/8 in. (19.5 x 13 cm)

(vol. 1). 528 pages, letterpress. Stitched, wrapper in special package. Printed by Prentsmidja Jons Helgasonar,. Reykjavik. Published by edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 200 numbered and signed copies. 20 artists copies. This is the copy n 165 of 200 . DR. CW. 40 # 64. (vol. 2). 528 pages, letterpress and offset. Stitched, wrapper in special package. Printed by Prentsmidja Jons Helgasonar. Reykjavik and Grafik hf, Reykjavik. Published by edition Hansjorg Mayer, Stuttgart, London, Reykjavik. 200 numbered and signed copies . 20 artists copies .This is copy 38 of 200 . DR. CW. 40 # 67.

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Dieter Roth Tears Serie
Der Tranensee (lake of Tears), 1973
4061-BK

18 1/2 x 13 in. (47 x 33 cm)

c. 1200 pages, newsprint (original newspapers). Adhesive binding, softback. printed by Luzerner Stadtanzeiger. Published by Dieter Roth, Reykjavik, 1973. 150 numbered and signed copies. This is the copy n 149 of 150 . DR. CW. 40 # 65.

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Shuji Terayama
lede - Runawy, 1969
3812-BK

7 1/2 x 5 1/8 in. (19 x 13 cm)

TERAYAMA SHUJI , MORIYAMA DAIDO , AWAZU KIYOSHI . Tokyo, Nôberu-shobo, 276p., texts by Terayama, Sakumi Hagiwara, Goichi Matsunaga, guide of the runaway, poems by Allen Ginsberg, photographs by Moriyama including the two folded sheets and Hiroshi Yamazaki (p.116-149), complete with the booklet of poems by Miyoko Kitagawa (122x115mm). Book Design: Kiyoshi AWAZU.

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JMW Turner
Liber Studiorum, 1810
3054-BK

10 7/8 x 16 1/8 in. (27.6 x 41 cm)

Etchings with mezzotint printed in sepia, circa 1809-1817. This book is exlibris of F. Hurlbutt. Etched by the artist, engraved by C. Turner(Brother), W. Say, R. Dunkarton, G. Clint, T. Lupton and the artist, frontispiece and 70 pages, fine impressions, the majority early states (1 proof, 2 first states, 7 second states, 42 third states, 13 fourth states, 4 fifth states, and 2 sixth states), on laid paper with T. Richard watermarks, with margins,, bound in contemporary calf, richly gilt, for a Duke or person of importance.

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Shoji Ueda
Dunes, 1986
2074

A book of 52 black and white photographs.

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UNKNOWN
SeaWeed Album, c1880s
682

Small Seaweed Album containg 9 separate specimens and a poem in front hand written in ink which quotes a passage from the famous book "Ocean Flowers and their teachings." In full leather morocco with steel corners and front emblem with edges gilt. In fine condition.

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Charline Von Heyl
Sabotage, 2009
13554-BK

11 1/8 x 14 x 1 1/2 in. (28.4 x 35.6 x 4 cm)

Rejecting both written language and illustration, Sabotage is a sort of image-text that gets straight to one of the book format’s most abstract possibilities: the material production of a sort of counterspace that exists beyond meaning. Interspersing transparent (Mylar) and opaque (paper) pages—a selection of the latter have been reconceived for publication here—Sabotage exploits the optical effects of superimposition while riveting the attention of its reader to the basic activity of turning pages. Isn’t this every book’s most intimate desire—to be ransacked and explored by fingers and eyes? Each turned page makes and unmakes the next, and the book remains in a state of constant optical transformation.

Stéphane Mallarmé, too, was fascinated by the fact that a book is above all an optical device—he even addressed the way a volume poses in the glamorous space of a shopwindow. With Sabotage, von Heyl invents something strange and ultimately unknowable with the purely material and energetic qualities of the book: surface and movement, ink and action. She lures the viewer into a readerly relation with her two-sided images. Frequently appropriating fragments of vintage comic books, found photographs, and other ready-made visuals, von Heyl layers and attacks these in such a way that they lose any illustrative function. Sabotage thus pursues a notion of abstraction as a process that resists representation, but that is also cunning and ironic enough to be able to picture itself—rampantly quoting aesthetic histories and styles, striking poses on the page. It is formalism exploiting its own power to leap from one content to another, reprogramming the book as a machine for producing surfaces.

The book has been printed in offset print by Arte-Print, Brussels on MAT. Blacklabel Silk 250gr MAT Magno Mat 400 gr and silkscreen printing by Screen Group, Brussels on transparent PVC 150 microns. Binding by Arte-Print, Brussels, Belgium and Laurel Parker, Montreuil. Slipcase on MAT Blacklabel Silk 150gr assembled by ” Les doigts qui rêvent “, Dijon. Format: 46 accordion pages and 23 free Mylar pages. Edition of 100 copies signed and numbered in arabic numerals from 1 to 100 and 17 artists’s proofs. This is copy #10 of 100.

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Charline Von Heyl
Sabotage, 2009
6723-BK

The book has been printed in offset print by Arte-Print, Brussels on MAT. Blacklabel Silk 250gr MAT Magno Mat 400 gr and silkscreen printing by Screen Group, Brussels on transparent PVC 150 microns. Binding by Arte-Print, Brussels, Belgium and Laurel Parker, Montreuil. Slipcase on MAT Blacklabel Silk 150gr assembled by ” Les doigts qui rêvent “, Dijon. Format: 46 accordion pages and 23 free Mylar pages. 28,4 x 35,6 x 4 cm – (11,18 x 14,01 x 1,18 inches) Edition of 100 copies signed and numbered in arab numerals from 1 to 100 nd 27 artists’s proof numbered in roman numerals from I to XXVII. * this is an artist copy coming directly from the artist.

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Bill Westheimer
Oddyssey, 2006
1910

Self portraits from a two week trip around the world - in Ohio - towns with foreign names. Photographed in 1985, published in 2006 the softbound 7.25" x 7.25" book is available and includes one signed archival inkjet print. The edition is limited to 100 signed copies.

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Edward Weston
My Camera on Point Lobos, 1950
1569

This book is not inscribed.

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Yasuhiro Yoshioka
Yasuhiro Yoshioka 1963, 1963
811

9 x 9 3/8 in. (23 x 24 cm)

First edition, Quarto. Brief philosophical introduction by photographer with text in English, French and Japanese, illustrated with reproductions of Yoshioka's abstracted photographs of the human body, publisher’s black cloth lettered in white at front board. Inscription to a Mr. Kato from Yoshioka thanking him for buying the book. Yoshioka issued the book without a sponsor or publishing company. Nr. 1 of 1,500, pp. 90. < CHECK IF PREVIOUS IS CORRECT FOR YOUR COPY. The book presents three series of nudes divided into three sections. Yoshioka’s treatment of the nude breaks with the traditional preoccupations of beauty and form, recasting the idea of the body within mechanical terms. The photos in this book were banned from inclusion in the 1962 Tokyo Yomiuri Andepandan Ten exhibition because his pictures—close-ups pf female genitalia— were charged as obscene.

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Jesvin Yeo
Architectural Decoration: Negotiating Symbols Across Time and Place, 2014
13720-BK

10 x 171 1/4 in. (25.4 x 435 cm)

This limited editioned bamboo scroll explores Chinese culture in Singapore showcasing the 3 oldest Hokkien temples in Singapore; Thian Hock Keng(1839), Tan Si Chong(1876) and Siong Lim Sian See(1902). The experience created by scrolling through engraved bamboo strips aims to serve as a platform for better understanding cultural material and to stimulate the interest of younger generations. In this age of constant scrolling of a different sort this is an ode to a more ancient tradition of scrolling.

Combining new technology and old material, where past and present are in continuous dialogue which allows for the depiction of a continuous narrative: the viewing is a progression through time and space. This hybrid scroll is composed of 150 hand drawn illustrations, refined on the computer over 8 months, to be laser etched onto 225 bamboo strips sewn together to create the longest bamboo scroll in Singapore, measuring 4.35 meters(14.27 feet) long.

The content is comprehensive archival documentation of the architecture and design of these temples that is virtually non-existent in English.

“Auspicious themes are a central element of the traditional architectural expressions. Ornaments of legendary beasts, such as dragon, phoenix, and lion, are often reflected on the architecture to symbolize good luck and to ward off fierce evil”

Each copy took five days to complete, and the entire project took Jesvin Yeo and her team over 3 years to complete. Edition of only 40 copies

Jesvin Yeo(she, her, hers)
A third-generation Hokkien Chinese Singaporean descended from Chinese Immigrants. (Hokkien is a dialect originating from the Fu-Jian Province in China. Distinctly different from Mandarin Chinese, it spread to Taiwan in the late Ming Dynasty following development of the Quanzhou area and ports.)

Jesvin’s books are significant to the design field because they not only record traditional trades and crafts for future designers to explore and contribute to the local craft landscape but also examine book design as a form of disappearing traditional craft. Her books are the end product of a series of design explorations, including integrating traditional book forms with new technologies, making traditional book forms more interesting through unusual structures and visual stimuli, and pushing the boundaries of graphic design.

“I just know that I am interested in the dialogue between tradition and contemporary, old and new. Although I work with tradition elements, I create my content with our younger generation in mind. I believe that tradition and culture are symbols of thought and it is important to pass them down. Hopefully our young people can continue to preserve it. Moreover, I feel that a product is made up by a combination of effort from many people, so it has to scream and not just sit subtly.”

Price Upon Request

Yummy Industries
Miami2007December56789, 2008
3145-BK

54 leporello pages of color printed pigment prints onto watercolor paper with titled black blind embossed covers, housed in cloth box with colophon pasted down. This book was made with the implementation of the "Drawing Machine," a yummy Industries recording instrument, which was installed in a designated space during an art fair. The concept was for YI to create a situation where artists, children, and/or people attending the art fair could use the "Drawing Machine" and interact/collaborate with them or just draw side by side. During the period of 5 days, they were always active at the table while all kinds of people sat down and drew on a piece of paper from a 20 meter roll which then got folded as the paper filled up with drawings. The result being an accordion style book of drawings. This unique book which remains with the Yummy Industries archive was sent to Factum Arte in Madrid, Spain who specializes in scanning paintings to make expertly printed reproductions. They were able to scan the entire book, color match over 250 colors, and print with color pigments on water color paper to a 1 to 1 size and make this edition a reality. Drawing Machine- Is a portable wooden table made without any screws that has 2 benches on either side of a 3ft by 6ft piece of flat wood; the roll of paper is held on one end of the table by a dowel, stretches over the to surface and collapses on the other end of the table into a folding mechanism that shapes the paper into a book, which people are able to view directly.

Price Upon Request