E/AB Fair

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

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

Hand sewn cotton leporello book, with screenprinting, in cloth box with colophon.
Published by Zucker Art Books, NY. Edition of 8 variants, with 2 AP.
Each copy is signed and numbered.

Each book is handmade from repurposed fabrics the artist found in Mexico City. Camil’s interventions include cutting shapes common in cloth making such as sleeves, collars, torsos, and recombining them in a colorful array, hand sewn into a double sided sequence. She designed small buttonholes in between the panels so the work can be hung as a banner as well, choosing either side. This sort of interaction between the work and the viewer is a key element throughout Camil’s oeuvre, which even includes works to be worn or walked on.

Pia Camil (b. 1980) lives and works in Mexico City. She has a BFA from the Rhode Island School of Design and an MFA from the Slade School of Fine Art, London. Her work has been exhibited internationally, with recent solo-exhibitions including A Pot for a Latch, New Museum, New York (2016); Skins, Contemporary Arts Center, Cincinnati (2015); The Little Dog Laughed, Blum & Poe, Los Angeles (2014); and Cuadrado Negro, Basque Museum Centre for Contemporary Art, Vitoria-Gasteiz, Spain (2013).

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Herman De Vries
Rationale Strukturen, 1967
10461-BK

18 7/8 x 18 7/8 in. (48 x 48 cm)

14 white sheets in grey printed portfolio; on the first sheet is a preface by Siegfried Maser, followed by 13 embossed prints, each signed on the reverse.
Publisher: edition hansjörg mayer, stuttgart
Edition 40, signed and 26 numbered a-z. This is an unnumbered copy.
De Vries liked to strip things away to the bone, to achieve almost total negation by using whiteness in the work, with no visible typography, thus achieving a sort of presence in absence.

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Dieter Roth and Arnulf Rainer
Untitled, 1975
6123-OR

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

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

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Barry McGee
Drypoint on Acid, 2006
1075

7 3/4 x 6 1/4 in. (20 x 16 cm)

Portfolio of 10 prints in a variety of printmaking techniques and collaged silkscreen additions; in a wood box with silkscreen on lid.
Published by Edition Jacob Samuel, Santa Monica, CA.
These images employ collage elements from the artist’s vast collection of old industrial printed paper, which he embellishes with his own images depicting those who live on the margins of society.

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Franz Mon
STREIFENTEXT (STRIPES TEXT), 1964
11413-OR

9 3/8 x 4 1/4 in. (24 x 11 cm)

Collage made of several strips of paper. Signed (monogram) and dated on the back

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Adam Pendleton
Anthology #16, 2018
12122-BK

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

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

The compositions are directly related to Pendleton’s collages on mylar and the book translates and indexes these source collages which are usually printed on transparent film whereas in Anthology they have been silkscreened onto Shoji paper. Reflecting on the combinatorial nature of the compositions, each book has a unique cover: a patterned black-and-white canvas fabric, screen printed with one of four handwritten texts.
Copy n 16 of 24

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Dieter Roth
Stundenbilder (Hourly Photographs), 1977
11692-BK

4 x 6 in. (10.2 x 15.2 cm)

16 leather bound books containing a total of 305 signed photographs with hand written time stamping.
On January 1, 1977, at 1:00 a.m. in Chicago, Roth devised an ambitious photo project for which he planned to take one photograph every hour, 24 hours a day, for 365 days of a year: every hour a shot of what simply lay in front of him at that particular moment. Although he abandoned this idea in March he self-published a set of 16 books in readymade bindings in a small edition of 3 which documents the idea. It is one of the key works of conceptual artists’ books of its time and is a testament to how far ahead of his time Roth's ideas really were. A prescient precursor of Instagram!

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Dieter Roth
Proof impression Doubleheads, 1974
8501-PR

15 x 15 in. (38.1 x 38.1 cm)

Etching and dry point with photographic etching process for the background. Signed probe 1/1

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Dieter Roth
Proof impression Doubleheads, 1974
8521-PR

15 x 15 in. (38.1 x 38.1 cm)

Etching and dry point with photographic etching process for the background. Signed probe 2/2

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Dieter Roth
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 200-20
Edition of 60 copies.

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Dieter Roth
Map (Landkarte), 1969
4456-PR

27 1/2 x 24 3/8 in. (70 x 62 cm)

Screen printing 3 colors on synthetic cloth, partially laminated on canvas; photomechanical reproduction of a painting. Printed by H. Wery, Cologne. Published by Dieter Roth, Cologne.
Coded message written below in German:
"man kann nichts für dich tun du hast schon alles selber gemacht"
(One can do nothing for you you have already done everything yourself)
Edition of 60 copies; numbered and signed.

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Dieter Roth
Book BB, 1964
7643-BK

15 3/4 x 15 5/8 x 5/8 in. (40.3 x 39.8 x 1.8 cm)

18 red and green sheets with hand-cut slots at 90 degrees in various sizes (0.2, 0.5, 1.0 1.5, 3.5 and 6.5cm). In black paper over board folder in publisher's black box with Diter Rot Edition MAT collection 64 on spine. "Diter Rot BOOK bb, IDEA 1958, sc. 1964 for MAT" with artist's fingerprint in black ink. This is copy 16 of the proposed edition of 50.

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Dieter Roth
Book T1, 1959
11343-BK

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

Unique example of Roth's interactive artist book. 25 hand cut sheets with slots cut at angles (width of slots: 3,5,9,15, 30mm), 15 sheets colored (3 per each size) in red, blue, and yellow thick gels and 10 sheets being white (2 per each size). Title page pasted down with signature, date "oct 59", and artist's fingerprint onto black cut board with typewritten title on spine. Each sheet is 19x19cm with a custom card binding that is 22x22 with "diter rot book t1" on the spine.

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Roth, Dieter and Hamilton, Richard
Collaborations of CH. Rotham, 1977
4044-BK

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

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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Thomas Ruff
World Wide Cloud
, 2018
12421-BK

18 5/8 x 15 1/8 x 2 3/4 in. (47.5 x 38.5 x 7 cm)

*container designed by Jacques Herzog and Pierre de Meuron.
For more than ten years now, Thomas Ruff has been gleaning the web for images to use in various series, including the one whose title he has taken from a common digital filename extension: jpeg (formed from the initials of Joint Photographic Experts Group). The resolution of these digital images is a function of the number of pixels they are composed of. Thomas Ruff uses grids of identical dimensions, which determine images of a constant digital “weight.” These grids constitute abstractions which, observed from a certain distance, produce traces of images extracted from an unnameable corpus. The images gathered in this work show billows of smoke, destined to disappear, whose causes â€~~ the events that produced themâ€~~ remain a matter of speculation. They are accompanied by a poem by Patrick Bouvet, which signals the ubiquity of a catastrophe “visible from” Bordeaux, the outskirts of Madrid, Algiers, Tripoli, Kobané, Washington… The upper face of the pinewood container designed by Jacques Herzog and Pierre de Meuron is covered by a printed image â€~~ specially produced for each copyâ€~~ representing the JPEG image of the wooden lid on which it is printed.

Each copy contains 10 original signed photographs (chromogenic prints)
Pinewood case
Text in French and English
Limited edition of 30 copies

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Giulio Sanuto
Perseus and Andromeda, after Titian, 1562
4484-PR

19 5/8 x 14 15/16 in. (50 x 38 cm)

Engraving, ref. Bury 11
Provenance- Richard Jung (1911-1986), Fribourg, Switzerland, Lugt 3791; Private Collection, United Kingdom
Framed dim: 82.5 x 75 cm

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Peter Schmidt
ROT a PRINTS, 1968
10511-BK

8 5/8 x 12 1/8 in. (22 x 31 cm)

Title page plus two printed text pages; "for Diter Rot without whom etc." and "IN January 1968 a new person and a new machine appeared at Watford. Both worked badly(well). I learned some new words: beauties, refreshing, verfügbarkeit, and was advised not to worry. This book is the result of these new aquaintances. PS "

Handmade book with 50 color printed sheets from the rotaprint press, back then a newly invented machine, that was bought by an art school in London in 1968. This new machine brought Hans Jorg Mayer to the Watford School of Art as a visiting professor as he was an expert in printing technology of the period. He also made a project with Dieter Roth with this rotapress.

Binding made by artist using thick tranparent rubber with mounted rotaprints, glue and tape. Edition of 26(A-Z) plus 10 artists copies(1-10). This is copy S. Provenance of the publisher, Hans Jorg Mayer.

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Aldo Spinelli
Alphabet, 2019
12772-OR

10 x 6 5/8 x 3 1/2 in. (25.5 x 17 x 9 cm)

26 pages printed by Indigo prints.
bound by Bookworks, London.
Edition of 28 Copies

The ALPHABET rises from a simple line, a humble sign, that turns into a signifier in order to express itself in a meaning of a much broader significance; in short, it is the transition from gesture to language.

ALPHABET finds the letter as “atoms” of the molecular foundation of language. Thus everything that is to be said describes itself with its own instruments: letters written with letters. Indeed, ALPHABET is just the computation of the letters necessary to define the same number of letters used in the definition—what I call a "looping”—the usual vicious (or virtuous) circle.

The construction process that I consider a jigsaw of letters brought me to choose as a source for my “letter/atom” from the superior of the puzzle novel, Life a User’s Manual by Georges Perec (1978). All the 7124 letters necessary to realize ALPHABET have been cut out of an edition of this book, published in in 1988 and translated by David Bello.

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Aldo Spinelli
Alphabet -- Original maquette, 2019
12742-BK

10 x 6 5/8 x 3 1/2 in. (25.5 x 17 x 9 cm)

28 collages on tracing paper and carved book encase in a plastic box.

The ALPHABET rises from a simple line, a humble sign, that turns into a signifier in order to express itself in a meaning of a much broader significance; in short, it is the transition from gesture to language.

ALPHABET finds the letter as “atoms” of the molecular foundation of language. Thus everything that is to be said describes itself with its own instruments: letters written with letters. Indeed, ALPHABET is just the computation of the letters necessary to define the same number of letters used in the definition—what I call a "looping”—the usual vicious (or virtuous) circle.

The construction process that I consider a jigsaw of letters brought me to choose as a source for my “letter/atom” from the superior of the puzzle novel, Life a User’s Manual by Georges Perec (1978). All the 7124 letters necessary to realize ALPHABET have been cut out of an edition of this book, published in in 1988 and translated by David Bello.

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Aldo Spinelli
L'Histoire millimétré de l'Art
17th January, 2019, 2018
12762-OR

Next January 17th 2019 art will celebrate its 1.000.056th birthday.
On this occasion the Macro Asilo organized a conceived commemorative day that will take place
from 10.00 am to 6.00 pm inside the Sala Media and it will proceed with celebrations until the
closing time.
The official birth of art was formalized in 1963 by the French artist Robert Filliou in his poem
L’Histoire chuchotée de l’Art” (Whispered history of Art) where he says how “it all started a 17th of
January, one million years ago. A man took a dry sponge and dropped it into a bucket full of water.
Who that man was it is not important. He is dead, but art is alive.”
Aldo Spinelli’s project is inspired by the demand of visualizing the number 1000056 (one milion
fifty six) in its wide extension that, nevertheless, can be referable to human dimensions if the
chosen unit of measurement is more or less tiny and restrained. How can be displayed, for example,
a surface of one million and few more squared centimetres? Well, a half tennis court would be
required. So the millimetres: 56 millimetres more than one squared metre, the minimum space
necessary even in a crowded place.
Breaking up 1000056 in its prime factors 2x2x2x3x41669 is obtained and its smallest divisors, if
multiplied together, can suggest another idea: 2x2x2x3=24, exactly like the hours of the day.
In 24 hours (or in 24 days) as many images can be realized, each of them has the surface of 41669
squared millimetres: 24x41669=1000056. Which kind of images? Just some easy figures that
remind, allude to 24 “entities” type that characterized the history of art: from the primitive man’s
handprint to the still life, from the black square by Malevic to the cut by Fontana, from the pop art
to the conceptual art.
Those pictures will be produced in front of the public with different techniques and with the graph
paper as the only common denominator. Therefore the title of the event: L’Histoire millimétré de
l’Art.
December 31st, 2018
aldo spinelli

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Joel Stein
Jeux de trames (Play of Patterns), 1962
8381-BK

18 x 15 1/4 in. (46 x 39 cm)

Portfolio with 10 reliefs in color, signed by the artist. Text by Pierre Schaeffer.
Published by Éditions Georges Visat et Cie, Paris.
Edition of 103 copies.

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Hiroshi Sugimoto
Sea of Buddha, 1997
1720

48 black and white photographs, title pages and impressum folded into a Leporello (accordion style) and attached to 2 polished aluminium cover plates, contained in a silk-covered slipcase. Design by Takaaki Matsumoto.

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Hiroshi Sugimoto
Sanjusangendo (Hall of Thirty Three Bays) # 30, 31 & 32, 1994
1735

16 7/10 x 21 1/2 in. (42.4 x 54.6 cm)

3 gelatin silver prints, a single image of 1001 statues at the Sanjusangendo (a temple in Kyoto). Sea of Buddha is a result of Sugimoto's desire to show the statues as they were meant to be seen during the Heian Period (794-1185). After seven years of bureaucratic red tape, Sugimoto was finally granted permission to enter the temple of Sanjusangend and the Hall of Thirty-Three Bays and photograph the Armed Merciful Bodhisattva Avalokitesvara figures, which have survived eight hundred years.
Copy n. 9 of 25.

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UNKNOWN
Hardy Annual, 1969
11913-BK

11 x 8 1/4 in. (28 x 21 cm)

230pp. Artist’s book, glue bound, unpaginated, printed in color offset lithography using a Rotaprint R70. Cover is printed on metallic sheets. Each copy is unique. Edition size of 100: 1 to 50 Edition Hansjörg Mayer, 50 to 100 Watford School of Art. This copy is numbered 76. housed in printed wooden box and all in very fine condition. Contributors: Richard Buckley, Ian Burton Elliott, Frank Challenger, Veronica Loveless, Hansjörg Mayer, Graham Pow, Kathryn Wallbridge, Cilla Weeks, John Wells.

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Christopher Wool
Book 1, 2019
12641-BK

Bound book of Aquaeous Art Prints on Canson Photographique Rag, in custom clamshell box
22 x 18 x 1 inches
55.9 x 45.7 x 2.5 cm
Edition of 15 plus 3 artist's proofs

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Christopher Wool
Book 2, 2019
12661-BK

Bound book of Aquaeous Art Prints on Canson Photographique Rag, in custom clamshell box
22 x 18 x 1 inches
55.9 x 45.7 x 2.5 cm
Edition of 15 plus 3 artist's proofs

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Christopher Wool
White Walls, A Magazine of Writings by Artists #17, 1987
12711-BK

8 5/8 x 9 3/8 in. (22 x 24 cm)

Reproduction of a painting on cover plus 4 pages of text works, TROJAN HORSE and HOUDINI in a computer font and HELTERSKLTER and HOUDINI in his typical silkscreen font.

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Christopher Wool
Empire of the Goat, 1985
12651-BK

11 x 8 1/2 in. (27.9 x 21.6 cm)

Self published, the Wool’s second artist’s book, containing photocopies of paintings made in the early period of his oeuvre. Paper cover bound with Japanese string, bearing a red ink stamp of a goat on the cover. Signed, dated, and numbered in pencil. Edition of 33 copies. Mint condition.

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