Bruno Munari and Ugo Mulas Campo Urbano, 1969
In Campo Urbano (1969) Ugo Mulas (1938-1973) disbands with conventional divisions between documentation, portraiture, and artwork by employing tilted camera angles, unusual framing, and a series of images that visually describe a daylong intervention in the city of Como. The work foreshadows his later engagement with the conceptual side of photography, its framing and mirroring of the world.
Bruno Munari and Ugo Mulas | Campo Urbano | 1969 | Zucker Art Books
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Anna Hellsgård Christian Gfeller Sans Titre, 2015
18 1/2 x 13 3/8 in. (47 x 34 cm)
A unique book featuring 32 original art works. Each piece is a screen printed monotype in which we push the boundaries of the serigraphy technique as well as experiment with forms, colors, layers and composition. The title "SANS TITRE" (Untitled in French) is a self-referential joke. It plays with a conceptual mise en abyme as well as refers to the textual whole of the work.
Anna Hellsgård Christian Gfeller | Sans Titre | 2015 | Zucker Art Books
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Herman DeVries On The Beach-Morocco 2006, 2006
66 pages ; edition 36, numbered and signed. Title-page and 33 pages each with a photo in colour, back-page with imprint, numbering and signature, japanese binding, in white cardboard box with title on spine. 32 × 21 × 2.7 cm
Herman DeVries | On The Beach-Morocco 2006 | 2006 | Zucker Art Books
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Jean Fautrier Lespurgue, 1942
14 3/8 x 15 1/8 in. (36.5 x 38.5 cm)
Fautrier’s illustrations are lithographs printed by the Mourlot brothers, both figurative and sculptural in design. The love poem Lespugue, dedicated to Leona Jeanne, is made up of 18 stanzas of 8 lines, two of which diverge typographically due to the last two lines being split across two pages; this first happens at the moment when the poet sees words light up around him and his lover, and he pushes her knees apart, ‘trembling with tenderness’. The second occurrence is when he wonders where his lover ends: she converges with the landscape, the din of the mountains and the blooming limes. Curves and snakes, light and mother-of-pearl, shadows and earth: Ganzo’s world always sparkles.
Jean Fautrier | Lespurgue | 1942 | Zucker Art Books
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Francesca Gabbiani White Book, 2005
FIRST artist's book of white, pop-up landscapes inspired by the popular non-fiction novel Devil in the White City by Erik Larson, an account of the architect responsible for the 1893 Chicago Worlds Columbian Exposition and the serial killer who worked in its midst. Gabbiani has painstakingly cut in white paper miniature the architectural structures, most notably the Ferris wheel, that reveal the magical appeal and horrifying events of that Worlds Fair. Edition of 20, this being copy number 18.
Francesca Gabbiani | White Book | 2005 | Zucker Art Books
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Guy Debord & Asger Jorn Memories, 1959
The book is a work of psychogeography, detailing a period in Debord's life when he was in the process of leaving the Letterists, setting up Lettrism International, and showing his 'first masterpiece', Hurlements en Faveur de Sade (Howling In Favour Of Sade), a film devoid of imagery that played white when people were talking on the soundtrack and black during the lengthy silences between. Credited to Guy-Ernest Debord, with structures portantes ('load-bearing structures') by Asger Jorn, the book contains 64 pages divided into three sections. The first section is called 'June 1952', and starts with a quote from Marx: Let the dead bury the dead, and mourn them.... our fate will be to become the first living people to enter the new life. The second section, 'December 1952', quotes Huizinga, and the third, 'September 1953', quotes Soubise. The work contains two separate layers. The first is printed with black ink, reproducing found text and graphics taken from newspapers and magazines. The second layer is printed using coloured inks, splashed across the pages. These sometimes connect images and text, sometimes cover them, and sometimes are seemingly unconnected. The black layer contains fragments of text, maps of Paris and London, illustrations of siege warfare, cheap reproductions of old masters and questions such as 'How do you feel about the world at the moment, Sir?' The coloured layer contains freefloating ink splashes, lines created by a matchstick loaded in ink, and a Rorschach inkblob.
Guy Debord & Asger Jorn | Memories | 1959 | Zucker Art Books
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Ugo la Pietra AD OGNUNO LA PROPRIA REALTA"To each his own Reality", 1972-74
16 x 12 in. (40.5 x 30.5 cm)
A conceptual artists book with original photographs throughout, published by Jalik & Colophon in an edition of only 30 copies which were never completed, this is copy #1/30 and comes directly from the Artist. 40,5 x 30,5 cm. In the Sixties Ugo La Pietra was one of the first artists to use photography as a medium for artistic operations. His images, often composed and integrated by written and manual intervention, are the result of a careful exploration of the contradictions of life and living. These images, starting from the urban environment degraded and alienating, change the perspective, the perception and our way of life, to make out beauty, possibility of intervention and change, happiness.
Ugo la Pietra | AD OGNUNO LA PROPRIA REALTA"To each his own Reality" | 1972-74 | Zucker Art Books
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Sol Lewitt Crownpoint, 1980
11 x 11 in. (27.9 x 27.9 cm)
Artist book predating his famous Autobiography book. Here he photographs the printing studio of CrownPoint Press where he does many of his printed work. Bound book of photo etchings 40 pages, signed in a limited edition of only 25 copies.This book is a record of the way Crown Point Press looked at the time the artist was in residence here. On one of the pages, for example , are photographs of several works by Sol LeWitt which were pinned up as proofs on the studio walls. On the facing page are prints made by other artists who have worked at Crown Point Press . In making this book, Sol LeWitt instructed the printers what the subject matter and general composition of the images should be. He then arranged the images into pages . "CrownPoint" was created completely at Crown Point Press . This work includes the photography, the making of 300 line screened phototransparencies , etching the images onto the plates, hand printing and binding the pages into book form.
Piero Manzoni Piero Manzoni: Life and Work, 1969
7 1/8 x 6 1/8 in. (18 x 15.5 cm)
Softcover, mylar, bound by plastic clip. Except for the title page, the book is blank. Signed by Jes Petersen who originally published it in 1963. Reference: p. 265, "Piero Manzoni", published by Priero Editore, Milan, 1989; 20 Jes Petersen Germany artist’s book. Edition of 100 copies.
Miller & Shellabarger | Butter Book, 2006 (Jewel) | 2007 | Zucker Art Books
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Piet Mondrian Portfolio of 10 paintings, 1967
17 x 17 in. (43.2 x 43.2 cm)
Silk screen reproductions of 10 paintings with text by Piet Mondrian and introduction by Harry Holtzman. Printer Sirocco Screenprints Inc. Published by Ives- Sullivan Inc., CT. Copy 12 of 150. List of paintings reproduced: Composition in blue and yellow; Composition in red, blue, yellow and grey; Place de la Concorde; Fox Trot A; Broadway Boogie Woogie; Abstract Painting; Composition in white, black and red; Victory Boogie Woogie; Composition; New York City I.
Very rare to find complete as most portfolios were broken up.
Robert Motherwell | L'amour Venetien | 1984 | Zucker Art Books
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Giuseppe Penone Svolegere la propria pelle (Developing One's Own Skin), 1970/71
8 3/8 x 8 1/2 in. (21.3 x 21.7 cm)
104 pages, Sperone Editore, Turin, 1971. Penone mapped his entire body with hundreds of photos taken when pressing a sheet of glass against different parts of his body, assembling assembling the resulting images into grids. In these photographs the subject is seen “unrolling one's skin against air, water, earth, rock, walls, trees, dogs, handrails, windows, roads, hair, hats, handles, wings, doors, seats, stairs, clothes, books, eyes, sheep, mushrooms, grass, skin...” wrote the artist, reflecting on the quantity of voluntary and involuntary signs that bodies disseminate and spread onto different things. Unspecified edition size.
Giuseppe Penone | Svolegere la propria pelle (Developing One's Own Skin) | 1970/71 | Zucker Art Books
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Lukas Pusch HURRA! 1914-1918, 2014
Copy 6 of 10. Hurra! is a panorama of the First World War and illustrates the continuity of idiocy, political and military brutality, chaos and cynicism that has lasted to the present day. Even as the world celebrates the 100th anniversary of WW1, Hurra! demonstrates just how little the world has really changed.
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.
Lukas Pusch | Kaiserwalzer | 2009 | Zucker Art Books
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Lukas Pusch Zil 130 Deluxe, 2008
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.
Stan Shellabarger | Untitles (Walking Book 5) | 2008 | Zucker Art Books
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Shuntaro Tanikawa Picture Book (Ehon), 1956
10 x 9 5/8 in. (25.5 x 24.3 cm)
First edition. Limited edition of 300 copies. 20 tipped-in offset photographs (incl. one on front cover). Japanese text. Quarto. Original cloth binding. Unpaginated, 44 pp. Tokyo, Matoba Shobo, dated: Showa 31 [i.e. 1956].
Tanikawa Shuntaro (b. 1931) is possibly Japan's most highly regarded living poet. He has written over sixty books in addition to translating Charles Schulz's Peanuts and the Mother Goose rhymes into Japanese. This is his fourth book of poetry, which Tanikawa illustrated with his own photographs and privately published. Extremely rare. Unrecorded. No copy in OCLC. No copy in ALC.
Complete set of four unsigned heliogravures in color by Cy Twombly and eight poems by Octavio Paz, hors-texte, title, justification, colophon, and reproductions of the artist's drawings, text in English and German, on smooth wove and laid papers, signed on the colophon by Paz and Twombly.
Published by Udo and Anette Brandhorst, Cologne.
100 copies of the Special Edition (the total edition was 1,000), bound in two volumes (as issued), with full margins, in excellent condition, original paper-covered portfolios, and original paper covered slipcase.