{"title":"Frieze Masters 2026","description":"\u003cp\u003e\u003cspan class=\"cms_red\"\u003eShapero Rare Books \u0026amp; \u003ca href=\"https:\/\/shaperomodern.com\/events\/76\" target=\"_blank\" title=\"Shapero Modern Frieze Masters 2026 Exhibition Page\" rel=\"noopener\"\u003eShapero Modern\u003c\/a\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003eare delighted to be returning to The Regent's Park, London for the 2026 edition of\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.frieze.com\/fairs\/frieze-london-frieze-masters\" title=\"FRIEZE MASTERS\" rel=\"noopener\" class=\"external-link-aria-label-added external\" target=\"_blank\"\u003eFRIEZE MASTERS\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003eJoin us at \u003cstrong\u003eStand A07\u003c\/strong\u003e\u003cspan\u003e from 14-18 October for a superb selection of rare books, artists' books, periodicals, and modern art, including limited editions and important inscriptions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFind catalogues, tickets, and more information \u003ca href=\"https:\/\/shapero.com\/blogs\/news\/frieze-masters\" target=\"_blank\" title=\"Frieze Masters 2026 News\" rel=\"noopener\"\u003ehere\u003c\/a\u003e.\u003c\/span\u003e\u003c\/p\u003e","products":[{"product_id":"severini-fleurs-masques-first-edition-94533","title":"Fleurs et Masques.","description":"\u003ch4 class=\"srb-faux-head\"\u003esuperb depiction of Cubist still lives\u003c\/h4\u003eOne of the most remarkable pochoir books. A superb depiction of Cubist still lives, harlequin musicians and the masks and theatrics of the Commedia dell'Arte.\u003cbr\u003e\u003cbr\u003e'The \u003cem\u003eFleurs et Masque\u003c\/em\u003es pochoirs are whimsical (almost resembling playing cards) but at the same time sacred and profane. Throughout, Christian iconography is evident: the mother and child reminiscent of Mary and Jesus; \"Ichthus\" fish and pigeons substituted for doves, perhaps, and grapes representative of an evangelical banquet' (Charlotte Hodgson of the Victor Batte-Lay Trust).\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition, one of only 125 sets; folio (47 x 33 cm); 16 colour pochoir plates by Jean Saudé under the supervision of Severini, some heightened with gold; original printed boards, original slipcase; spine darkened, slipcase stained.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"SEVERINI, Gino.","offers":[{"title":"Default Title","offer_id":45547078222129,"sku":"94533","price":25000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/94533_7c0300d2-8448-420a-9d14-b4f82f19944b.jpg?v=1791489108"},{"product_id":"bernard-buffet-paris-1962-96197","title":"Paris.","description":"\u003ch4 class=\"srb-faux-head\"\u003eeach print signed and numbered by the artist\u003c\/h4\u003eA superb example - a prime example of Buffet's intense emotional style with long elongated portraits, sombre and solitary but also very sympathetic. He became extremely popular as contemporary taste developed an appetite for his stark, sombre images. \u003cbr\u003e\u003cbr\u003eA renowned French expressionist painter, Buffet (1928-1999) studied for two years at the École des Beaux-Arts in his hometown of Paris. From 1945 he worked as a freelance painter, with his first solo exhibition being held in 1947. Following his receiving the 'Prix de la Critique' in June 1948 he gained considerable attention and his works were suddenly in great demand. Buffet developed a distinctive, style with dramatic heavily emphasized thick black lines. In 1955, he was awarded the first prize by the magazine \u003cem\u003eConnaissance des Arts\u003c\/em\u003e, which named him as one of the ten best post-war artists; he was also awarded the Chevalier de la Légion d'Honneur in 1973.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eLimited edition, number 73 of 150 copies; landscape folio (55 x 23 cm); title, limitation page, table of illustrations, text by Baudelaire and 10 colour lithographs, each signed and numbered; loose in beige portfolio with flaps, ribbon ties.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"BUFFET, Bernard.","offers":[{"title":"Default Title","offer_id":45547092279601,"sku":"96197","price":28500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/96197_ac1d2c17-f376-4140-9869-f08a8e6a473c.jpg?v=1791478781"},{"product_id":"sam-francis-untitled-monotype-1982-106504","title":"Untitled","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eThe work of Sam Francis has not followed a straight line of progression. He generated new forms, colours and formats with every piece, constantly adding to his large visual vocabulary. This unique monotype is a superb example of his artistic language, demonstrating his skilful manipulation of colour hues and blending amongst the transparent layers. His large red woodblock impressions against the white of the paper highlights his need to work with opposites, a direct result of his interest in Oriental philosophy. With its spontaneous spots, splatters and stains this monotype cannot be replicated, mimicking a painterly language, which was ultimately ground-breaking within the context of printmaking as Francis broke down the boundaries of what the medium can and cannot achieve. \u003cbr\u003e\u003cbr\u003e\u003ci\u003eMonotype in colours, 1982, on handmade paper, signed by the artist in pencil, a unique impression, sheet: 198.5 x 108.5 cm. (78¼ x 42¾ in.)\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"FRANCIS, Sam","offers":[{"title":"Default Title","offer_id":45547325423921,"sku":"106504","price":75000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/106504_26333581-f642-464f-a845-50cac032e301.jpg?v=1791488771"},{"product_id":"picasso-iliazd-chevaux-de-minuit-cannes-paris-1956-109080","title":"Chevaux de minuit.","description":"\u003ch4 class=\"srb-faux-head\"\u003esigned by picasso and iliazd\u003c\/h4\u003eOne of 52 copies; \u003cem\u003eChevaux de minuit\u003c\/em\u003e is one of Picasso and Iliazd's most successful collaborations. 'Picasso's stylistic range from the animals of the 1942 Buffon to these horses is a vast one. Here he has restricted himself to an extreme simplification of outline, accented only by the drypoint burr, yet vividly descriptive of movement. The typographic layout by Iliazd carefully balances and sometimes echoes the design of the plates' (A\u003cem\u003ertist and the Book\u003c\/em\u003e)\u003cbr\u003e\u003cbr\u003eThe poem \u003cem\u003eChevaux de Minuit\u003c\/em\u003e by Roch Grey (pseudonym of Baroness Hélène Oettingen) was edited by Iliazd after her death in 1950. The two had been friends and Ilia Zdanevich felt that the writer's work had been under-appreciated in her lifetime, having not received recognition in either mainstream or avant-garde literary circles. It was his aim, especially in the later part of his career to bring to light the work of marginal writers by collaborating with famous artists, many of whom were his close companions.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eLimited edition, one of 52 copies on \u003cem\u003evieux Japon\u003c\/em\u003e from a total edition of 68 signed by Picasso and Iliazd; folio (32 x 22 cm); with 12 engravings, of which 2 are hors texte and 10 are in text; pages are folded in three with engraving in centre and text either side; in original vellum wrappers with a drypoint etching on the cover, in a folded vellum sleeve with the spine imprinted with the title, vellum wrappers slightly stained otherwise a fine copy.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"PICASSO, Pablo; ILIAZD; GREY, Roch [pseud. OETTINGEN, Hélène].","offers":[{"title":"Default Title","offer_id":45957976523057,"sku":"109080","price":65000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/109080_76abb123-89e5-4264-910c-736037ec9e02.jpg?v=1791487669"},{"product_id":"klimt-lucian-samosata-115777","title":"Lucian of Samosata. De Hetaerensgespraeche des Lukian.","description":"\u003ch4 class=\"srb-faux-head\"\u003eone of 50 copies\u003c\/h4\u003eA fine example of a scarce and early work illustrated by Gustav Klimt. Published in 1907, this erotic compilation represents a perfect pairing of Klimt's drawings with Josef Hoffmann's Wiener Werkstätte design to create one of European Jugendstil's most beautiful books. \u003cbr\u003e\u003cbr\u003eThe text for the work is Lucian's \u003cem\u003eDialogues of the Courtesan (De Hetaerensgespraeche des Lukian)\u003c\/em\u003e, translated here by the Viennese writer, Franz Blei. The fifteen conversations from the Hellenic satirist cover themes of seduction, infidelity and jealousy and previous German translations omitted the fifth conversation as it is homoerotic. In this translation, Blei changed the order of the dialogues and gave them more provocative titles, such as 'The Horrors of Marriage', 'The Voluptuousness of Spanking', as well as including the lesbian conversation (number VI). \u003cbr\u003e\u003cbr\u003eKlimt's drawings are considered to be the 'epitome of erotic refinements' (Bisanz-Prakken). The fifteen compositions were created by Klimt in the period from 1904 to 1906, two-thirds of the drawings being dated to 1904. This is important in that Klimt switched from wrapping paper sheets to lighter Japanese paper in this year, as he replaced the soft chalk with the hard pencil. Some of the works were created in the preparation of the first version of Water Snakes II (1904–1907), and while Klimt contented himself in the painting with the hint of eroticism, he went far beyond the traditional limits of his time in the preparatory studies and drawings. \u003cbr\u003e\u003cbr\u003eJulius Zeitler in Leipzig was responsible for the publishing of the book and Obernetter in Munich, a pioneer and specialist in collotype printing was entrusted with the plates. The same high standards were applied to the bindings of the 450 numbered copies. Josef Hoffmann designed the sample bindings for the two de-luxe editions, which were produced by the Wiener Werkstatte. Edition A, the smallest edition (of which this book is part of) consisted of only 50 copies which were produced on Japon paper and were bound in marbled black and white cloth with corresponding endpapers. Edition B comprised of 100 copies bound in grey chamois leather. Both editions A and B have a gold embossed plate on the upper cover and Hoffman's monogram and the company's logo on the reverse. \u003cbr\u003e\u003cbr\u003eCopies of the book went to some of the most important collectors, patrons and cultural figures of the time. Hermann Bahr received a copy and subsequently wrote in a letter to Frane Blei: 'I drink to Klimt, the bright pagan. Those know-it-alls out there believe he merely plays with lines. Poor fools, they don't recognise the indescribable power of this lewdness swearing to be sacred. He is the only one for whom burgeoning nature is not obscured by bourgeois shame; the only one looking at thing's from a pagan's perspective. The only one for whom the woman is woman all over.'\u003cbr\u003e\u003cbr\u003e\u003ci\u003eLimited edition, number 40 of 50 copies on Japon, from a total edition of 450, large 4to; text printed in black and gold, translated into German by Franz Blei, illustrated with 15 photogravures after Klimt, plates protected by tissue guards, very minor staining to a couple of leaves; text printed in black and gold, 15 full-page collotype plates after drawings by Klimt, marbled endpapers, minor wear to margin of one plate; original grey marbled cloth, embossed gilt label to upper cover, gilt stamp to lower cover, covers and spine slightly faded, corners bumped, a very good copy.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"KLIMT, Gustav.","offers":[{"title":"Default Title","offer_id":49028433903921,"sku":"115777","price":25000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/115777_689c1f5e-e5d2-4710-ae41-4966db31a96c.jpg?v=1791485135"},{"product_id":"carolee-schneemann-david-crosswaite-thames-crawling-1970-112744","title":"Small archive relating to Carolee Schneeman's 'Thames Calling' performance at the Underground Film Festival, National Film Theatre, London, 14th to 20th Sept 1970. [With:] the 'low cost edition' of Schneeman's Parts of a Body House Book.","description":"\u003ch4 class=\"srb-faux-head\"\u003ephotographs of a Carolee Schneemann performance\u003c\/h4\u003eCarolee Schneemann is a pioneering performance artist, filmmaker, and writer on the subjects of feminism, sexuality, and the ecstatic body as a source of knowledge. These photographs by David Crosswaite show her 'Thames Crawling' performance at the 1970  International Underground Film Festival at the National Film Theatre, London.\u003cbr\u003e\u003cbr\u003eIn a note to David Curtis, co-organiser with Simon Field of the Film Festival, Carolee Schneemann writes:\u003cbr\u003e\u003cbr\u003e'Dear Dave: PUBLIC NOTICE –Yugoslavian films lost to us – total black out on communications; at. this late date it must mean \"not possible\". For the late evening program, 17th, where we hoped to have the Yugoslavian films, I'll present an expanded cinema piece (Kinetic Theater my name for it) juxtaposing \"Fuses\" and \"Viet-Flakes\" on  buttresses outside, under the NFT Theater; a performance in a foam rubber environment which might engulf performers and spectators – an activation exchange. Call it for now, \"Thames Crawling\". Realisation with Joan Lifton.'\u003cbr\u003e\u003cbr\u003eDavid Crosswaite is a filmmaker and artist associated with the London Film-Makers' Co-operative (LFMC). He photographed many happenings and performances, and his photographs of 'Thames Crawling' are included in Carolee Schneemann's \u003cem\u003eParts of a Body House Book\u003c\/em\u003e (1972) artists' book. \u003cbr\u003e\u003cbr\u003eThe LFMC was founded in 1966 as a screening club at Better Books on Charing Cross Road, London, and grew into a pioneering organisation that played a crucial role in establishing film as an art form in the UK. In the 1990s, the LFMC merged with London Electronic Arts and became the Lux Centre, which later became Lux.\u003cbr\u003e\u003cbr\u003eSome photographs from 'Thames Crawling' feature in Parts of a Body House Book, which Schneemann describes as being 'an accumulation of letters, analyses of films and charts of sexual parameters which incorporate many of the issues that were of great concern in the early 1970s in London. The texts are centered on those aspects of the body that were then considered shameful or taboo or were simply ignored.'\u003cbr\u003e\u003cbr\u003eThis 'low-cost edition' of Parts of a Body House Book was published by the same press, two months after the 'deluxe edition' of 60 signed and numbered copies (plus 15 artist's proofs).\u003cbr\u003e\u003cbr\u003e\u003ci\u003e18 vintage gelatin silver photographs (105 x 164 mm, 4¼ x 6 ½ in); occasional minor marks, lightly curled, one with a caption and credit in black pen on verso.\u003cbr\u003e\u003cbr\u003e[With:] International Underground Film Festival 14th to 20th Sept 1970. London, National Film Theatre, 1970.\u003cbr\u003e\u003cbr\u003ePoster; (592 x 420 mm, 23¼ x 16½ in); yellow paper printed in red, near-fine.\u003cbr\u003e\u003cbr\u003e[and:] National Film Theatre. September 14th – 20th 1970. South Bank, London. International Underground Film Festival – provisional schedule (as of Sept 3rd.)\u003cbr\u003e\u003cbr\u003eProgramme\/schedule; two duplicated leaves of pale blue paper printed on both sides (330 x 203 mm, 13 x 8 in), folded for mailing, toning to edges with light wear at folds, very good.\u003cbr\u003e\u003cbr\u003e[and:] Oz News. International Film Festival Supplement. Compiled by Dannae Hughes, Ian Stocks and Albie Thoms. Oz 30 Oct 70. [London], Oz, October 1970.\u003cbr\u003e\u003cbr\u003ePoster\/insert; (614 x 422 mm, 24¼ x 16½ in); Oz News printed in black-and-white on one side, Mike McInnerney's tribute to Jimi Hendrix in black and blue on the other, machine-folded three times, three shore edge-tears, near-fine.\u003cbr\u003e\u003cbr\u003e[and:] SCHNEEMANN, Carolee. Parts of a Body House Book. Cullumpton, Devon, Beau Geste Press, March 1972.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"[SCHNEEMANN, Carolee]. CROSSWAITE, David.","offers":[{"title":"Default Title","offer_id":49462621438257,"sku":"112744","price":7500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/112744_155f4f18-a8ef-4c7c-aee3-ef36d06dc181.jpg?v=1791479586"},{"product_id":"chagall-gogol-dead-souls-112541","title":"Les Ames Mortes.","description":"\u003ch4 class=\"srb-faux-head\"\u003ethe first major book entirely illustrated by Chagall\u003c\/h4\u003eGogol's masterpiece\u003cem\u003e '\u003c\/em\u003eDead Souls', the first major book entirely illustrated by Chagall and his first illustrations for Vollard. Signed by Chagall on the limitation and title-page. Written over five years at the end of the long pilgrimage that brought Gogol to Germany, Switzerland, France and Italy, 'Dead Souls' offers a vivid and ruthless portrait of a small swindler in provincial Russia in 1820. Published for the first time in 1842, the novel went on to exert a huge influence over the development of Russian literature. \u003cbr\u003e\u003cbr\u003eIn 1923 the French publisher Ambroise Vollard asked Chagall to produce an illustrated edition. Chagall, who had always felt a strong emotional connection to the country where he spent his youth, agreed with enthusiasm and pursued the project between 1923 and 1927. However, like many other Vollard projects, the production of the work was interrupted and only completed years later. \u003cbr\u003e\u003cbr\u003eThe final plate presents a particularly curious image in which Gogol reads and Chagall paints a portrait of Vollard.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eLimited edition, one of 50 copies on vélin d'arches filigrané, number 27 from a total edition of 368; 2 vols, folio (38 x 28 cm); illustrated with 96 etchings, hors-texte, and 11 etched vignettes, en-texte on Japon nacré; signed in ink by the artist on justification page; all loose as issued in publisher's printed cream coloured wrappers, with cream coloured chemises, chemises a little worn and stained; [iv], 160, [4]pp.; [viii], 165-308, [12] pp., overall a very good copy.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"CHAGALL, Marc (artist); GOGOL, Nicolai.","offers":[{"title":"Default Title","offer_id":49891839246641,"sku":"112541","price":30000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/112541_66e70d9d-6531-45e9-a819-d94254233f65.jpg?v=1791479645"},{"product_id":"113188","title":"Jesus- Christ Rastaquouere.","description":"\u003ch4 class=\"srb-faux-head\"\u003eunique presentation copy with an original signed drawing\u003c\/h4\u003eAn extraordinary unique copy of Picabia's seminal dada text with a signed original drawing, an extensive presentation and additional manuscript notes and aphorisms by Picabia.\u003cbr\u003e\u003cbr\u003ePicabia's signed original drawing - and the accompanying presentation - is to the initial blank and shows the head and bare shoulders of a young woman (characteristically and as noted in the catalogue raisonné of Picabia's graphic work, the eyes and lips are 'more fully modelled than their surroundings'), with her seemingly gloved hands raised in front of her chest; the drawing is signed at lower right. Although the drawing is from what has come to be categorised as Picabia's 'Proto Pop Art' period in the early '40s, characterised by figuration and realism, the motif of the glove recalls its extensive and suggestive use in Surrealism as well as in Picabia's wider oeuvre.\u003cbr\u003e\u003cbr\u003ePicabia's presentation is in pencil to the outer edge of the same leaf: 'à Germaine \/ Pittet \/ très sympathiquement \/ Francis Picabia \/ 25 mars 1940 \/ Golfe Juan'.\u003cbr\u003e\u003cbr\u003ePicabia has, in addition, added further aphorisms and notes in pencil and even gone so far as to intervene with the text of the book (see below). A note by him alludes to the fact that he has secured the body of the text - remnants of the black gummed paper tape used adhere still to the final blank leaf verso - an act of self-censorship to remain in force until 1942. It seems unlikely that 1942 is an arbitrary choice of date by Picabia and suggests that he foresaw something of importance occurring then or that he considered Germaine too young in 1940 to read his 1920 text that had caused such a scandal when first published. The final aphorism by Picabia would have been sealed within the sealed \/ censored section of the text.\u003cbr\u003e\u003cbr\u003eThe beginning of the Second World War found Picabia in Switzerland with Olga before they travelled to the south of France to Golfe Juan where they remained for the duration. Picabia, in his own words (writing to Léonce Rosenberg), found solace in the studio: 'I worked a lot after my return from Switzerland, from morning to evening I didn't leave my studio, it was the only way for me to forget … '. Although Picabia drew and painted many têtes de femmes in the early part of the war, few, unlike the present example, are dated. Many of those painted were taken by Picabia from photographic source material ('Paris Sex-Appeal', 'Paris Magazine', 'Paris Plaisirs' \u0026amp;c.) although some - and the drawing presented here, strongly personal and associated as it is with both Picabia's contemporary ideas, strongly Nietzschean, and his earlier dada philosophy, seems a very likely candidate - were drawn from life.\u003cbr\u003e\u003cbr\u003eAlthough we cannot locate any biographical details regarding Germaine Pittet, a further signed portrait of her by Picabia - executed in pen and ink with coloured pencil on paper laid on board - also dated to 1940 was sold by Christie's New York in 1986.\u003cbr\u003e\u003cbr\u003eThe manuscript interventions, all in pencil in Picabia's hand, are as follows:\u003cbr\u003e\u003cbr\u003e- Initial blank (recto): Presentation and signed original drawing;\u003cbr\u003e\u003cbr\u003e- Title: 'Ce qui m'unit à l'amour c'est \/ la vie et cette alliance associera \/ éternellement mon nom à l'amour.' (above Picabia's name at head of leaf); 'Les hommes sont \/ malades : ils sont malades \/ car les problèmes qu'ils portent \/ en eux sont des purs problèmes \/ d'hystérie. Francis Picabia' (beneath the title);\u003cbr\u003e\u003cbr\u003e- Half-title: 'Les hommes sont \/ malades : ils sont malades \/ car les problèmes qu'ils portent \/ en eux sont des purs problèmes \/ d'hystérie.' (above the title 'Jésus-Christ Rastaquouère'); 'n'oubliez pas votre promesse - \/ Vous ne devez pas ouvrir ce \/ livre avant 1942 -' (all underlined and beneath the title); 'FIAT VERITAS \/ PEREAT VITA... mais cela n'est pas certain... ' (at foot of the leaf); this leaf also bears traces of the removal of the same tape that adheres to the final leaf;\u003cbr\u003e\u003cbr\u003e- Leaf with two quotations by Picabia: 'Je crois que je sais \/ mieux que n'importe \/ qui aimer car personne \/ ne peut atteindre \/ les ravissements \/ étranges \/ de ma vie. F. P.';\u003cbr\u003e\u003cbr\u003eIntroduced by Gabrielle Buffet, Picabia dedicates 'Jésus-Christ Rastaquouère' - fittingly it would seem in the present case - 'à toutes les jeunes filles'. His text, considered his most important and one of the most important of Paris Dada, is illustrated with three monochrome dessins by Georges Ribemont-Dessaignes. These fantastical machine drawings, highly reminiscent of Picabia's own, are 'Portrait de la Reine de Perou', 'Maladie Légale' and 'Nocturne Capitons - Grand Mâle Général'. Picabia's Nietzschean 'FIAT VERITAS PEREAT VITA' (note Picabia's own capitals) recalls also Max Ernst's 'FIAT MODES PEREAT ARS'\u003cbr\u003e\u003cbr\u003e'... perhaps the most important Dadaist document of that period: as opposed to other contemporary works that fall into the realm of literary creation, 'Jésus-Christ Rastaquouère' is - though this is not obvious from its sacrilegious title - an essay on Dadaist 'philosophy'... Thanks to 'Jésus-Christ Rastaquouère', Dada found itself endowed with the elementary theoretical foundation it had been lacking until then.' (Michel Sanouillet).\u003cbr\u003e\u003cbr\u003e'Picabia's career is a kaleidoscopic series of art experiences. They are hardly related to one another in their external appearances, but are definitely marked by a strong personality.' (Marcel Duchamp).\u003cbr\u003e\u003cbr\u003e'Until recently these works [Picabia's proto-Pop paintings and drawings from Golfe Juan in the early '40s] were either seen as curiosities or simply as 'kitsch' - but what makes them interesting for the viewer today is not so much the painterly process involved as the context... As the development of art in the last two decades has shown it is not only those artistic strategies that are concerned with incorporating popular images into the realm of art that prove to be of significance, but also those that 're-cycle- these same images. Picabia may in fact be regarded as a pioneer in this field.' (Zdenek Felix and Chris Dercon).\u003cbr\u003e\u003cbr\u003eThis copy of 'Jésus-Christ Rastaquouère' with its signed original drawing is accompanied by a certificate of authenticity from the Comité Picabia; the certificate also notes that the book and drawing will be included in the forthcoming catalogue raisonné of Picabia's work.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFrom the edition limited to 1,060 numbered copies, with this one of 1,000 ordinary copies after 10 on chine and 50 on pur fil Lafuma; large 8vo. (232 x 166 mm). Leaf with title, leaf with half-title recto and Picabia's dedication verso, leaf with aphorisms by Picabia recto, 'Introduction' by Gabrielle Buffet verso and on following recto and Chapters I - VII of Picabia's text illustrated with 3 full-page monochrome 'dessins' by Georges Ribemont-Dessaignes, leaf with justification recto; original publisher's grey \/ blue card wrappers, cream paper label with printed titles in black to front cover; [36 leaves; pp. 66, (i)].\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"PICABIA, Francis.","offers":[{"title":"Default Title","offer_id":50061667369265,"sku":"113188","price":32500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/113188_01_51c8113b-5b5b-494b-a566-a072afc2d48f.jpg?v=1791476329"},{"product_id":"warhol-grace-kelly-1984-screenprint-signed-111886","title":"Grace Kelly","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eAndy Warhol's portrait of Grace Kelly is an homage to golden-age Hollywood glamour. The portrait, based on a still from Kelly's debut film 'Fourteen Hours' (1951), depicts her looking defiantly at the camera, with her face tightly cropped to fill the entire foreground. Warhol embellishes the photo with his characteristic off-register line drawing in order to transform it into a Pop Art masterpiece. By simplifying the image with planes of block colour, Warhol enhances the striking contours and shadows of Kelly's iconic face.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eScreenprint in colours, 1984, on Lenox Museum Board, signed in pencil and numbered 140 from the edition of 225 (there were also 30 artist's proofs), printed by Rupert Jasen Smith, New York, published by the Institute of Contemporary Art, University of Pennsylvania, Philadelphia, sheet: 101.6 x 81.3 cm. (40 x 32 in.)\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eFeldman and Schellmann II.305","brand":"WARHOL, Andy","offers":[{"title":"Default Title","offer_id":53503966970231,"sku":"111886","price":200000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111886_128837fd-9681-40f0-8c38-b108984b5bfb.jpg?v=1791490248"},{"product_id":"sam-francis-boundayr-1988-114807","title":"Boundayr.","description":"\u003ch4 class=\"srb-faux-head\"\u003eone of 35 copies - signed by the artist and author\u003c\/h4\u003eA beautiful Sam Francis illustrated book published by his own Lapis Press. 'This book was designed and printed at the Lapis Press in Santa Monica, California by Lee Ferriss, Jaime Robles and Jack W. Stauffacher. The text was handset in Spectrum, a type designed by Jan Van Krimpen. The aquatints were printed by Jacob Samuel at the Litho Shop Inc. Bound by Klaus-Ullrich S. Rötzscher' (the justification).\u003cbr\u003e\u003cbr\u003e\u003ci\u003eLimited edition, one of 35 copies signed in pencil by the artist and author, folio (398 x 288 mm); title, illustrated with six original colour aquatints by Sam Francis and justification; original publisher's wrappers with title in blind to front cover, original publisher's blue cloth box, a fine copy.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"FRANCIS, Sam; FRASER, Kathleen.","offers":[{"title":"Default Title","offer_id":54943011668343,"sku":"114807","price":7500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/114807_09abe2aa-569f-4e50-aef3-dc5ab7076445.jpg?v=1791488764"},{"product_id":"113709","title":"Every Building on the Sunset Strip.","description":"\u003ch4 class=\"srb-faux-head\"\u003ean exceptional copy with the rare original band\u003c\/h4\u003eRuscha's first attempt to photograph the strip on foot failed as parked cars got in the way. He resolved this problem by driving up and down Sunset Boulevard with a motor-driven 35mm camera fixed to his truck, photographing every building between Hollywood and Beverly Hills. The resulting photographs were laid out and joined together. The even-numbered south side runs along the top, the north side along the bottom, with the corresponding numbers printed below each building and names of cross streets. This accurate record of a period of extraordinary growth in Los Angeles is representative of the urban sprawl taking place throughout the United States. Sol Lewitt (writing in \u003cem\u003eArtforum\u003c\/em\u003e, Summer 1969) highlighted \u003cem\u003eEvery Building on Sunset Strip\u003c\/em\u003e as a key work in his definition of Conceptual Art, a movement driven by ideas before form.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition, first issue, with a small extra flap at the end due to a miscalculation by the printer; (176 x 137 mm, 7 x 5½ in), accordion-fold sequence of offset-printed black \u0026amp; white photographs, attached to inside of upper wrapper; white wrappers, spine and upper side printed in silver, publisher's silver mylar-covered board slipcase, with the lightly toned rare original white wraparound band, fine; [52]pp.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eRegards à travers Le Livre 138; Engberg \u0026amp; Phillpot, Edward Ruscha: Editions 1959-1999. Catalogue Raisonne (B4); The Book of 101 Books: Seminal Photographic Books of the Twentieth Century pp182-5; The Open Book: A History of the Photographic Book from 1878 to the Present pp198-9; The Photobook: A History II, pp142-3.","brand":"RUSCHA, Ed.","offers":[{"title":"Default Title","offer_id":55051071488375,"sku":"113709","price":6750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/113709_6db28b54-2183-41c2-8896-88497926707c.jpg?v=1791476372"},{"product_id":"hans-bellmer-la-poupee-1936-116837","title":"La Poupée.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003e\u003cem\u003eLa Poupée\u003c\/em\u003e evolved out of a series of events in Hans Bellmer's personal life: his cousin, Ursula Naguschewski, moving from Kassel to Berlin in 1932; an encounter with renowned dollmaker Lotte Pritzel and his attendance of a performance of Jacques Offenbach's \u003cem\u003eTales of Hoffmann\u003c\/em\u003e, in which the protagonist falls in love with an automaton; and his mother shipping him his old toys. \u003cbr\u003e\u003cbr\u003eBellmer constructed several dolls, the first dating from 1933, which he assembled and photographed in strange and disquieting configurations. Ten of these photographs were published in Germany as \u003cem\u003eDie Puppe\u003c\/em\u003e (1934). It was Bellmer's cousin Ursula who, while studying at the Sorbonne in 1934, apparently first brought Bellmer's photographs to the attention of André Breton in Paris. In 1934, the Surrealist journal \u003cem\u003eMinotaure\u003c\/em\u003e published a portfolio of these images, and in 1936, one was published in an issue of \u003cem\u003eCahiers d'art\u003c\/em\u003e devoted to the Surrealist object. Guy Levis Manos published this expanded French Edition with an introduction by Bellmer, translated by Robert Valencay. In February 1938, Bellmer left Berlin for Paris.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition, number 76 of 100 copies with 5 hors commerce, this being one of 80 copies on papier rose; (159 x 123 mm, 6¼ x 4¾ in); 10 mounted gelatin silver photographs (116 x 77 mm, 4½ x 3 in), text translated by Robert Valençay; pink wrappers, light wear, peach printed folding cover with titles on upper side in black, light wear to extremities and folds, a near-fine copy in a custom box by Devauchelle; [44]pp.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eLes éditions GLM, 1923-1974 no. 100; The Book of 101 Books: Seminal Photographic Books of the Twentieth Century pp88-89; The Photobook: A History I, p106; The Open Book p120-121; Paris, Les livres de photographies 1920-1950, p176-177.","brand":"BELLMER, Hans.","offers":[{"title":"Default Title","offer_id":55156839252343,"sku":"116837","price":50000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/116837_01_24f20e52-e352-4bdd-a764-ed5fb85a1791.jpg?v=1791482298"},{"product_id":"man-ray-paul-eluard-facile-inscribed-1935-115177","title":"Facile.","description":"\u003ch4 class=\"srb-faux-head\"\u003epresentation copy inscribed by man ray\u003c\/h4\u003eA presentation copy of one of the key French surrealist books of the 1930s, inscribed: 'For Louis \u0026amp; Peggy Kannenstine \/ Cordially \/ Man Ray'.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eFacile\u003c\/em\u003e is a beautiful synthesis of image and text, combining Paul Éluard's love poems written for his wife Nusch (born Maria Benz) with Man Ray's nude photographs of her. The book shows the range of techniques Man Ray experimented with, including solarisation, double exposures, and superimposed and negative photographs.\u003cbr\u003e\u003cbr\u003e'Although Man Ray participated in and produced hundreds of fruitful collaborative works in his life, \u003cem\u003eFacile\u003c\/em\u003e must be ranked among the most successful... It is a fluent but not at allfacile collaboration between the poet, the photographer, the model and muse, and the publisher Guy Levis Manos' (David Levi Strauss in \u003cem\u003eThe Book of 101 Books: Seminal Photographic Books of the Twentieth Century\u003c\/em\u003e).\u003cbr\u003e\u003cbr\u003eLouis Kannenstine was an American writer and scholar who wrote extensively about Djuna Barnes. His book 'The Art of Djuna Barnes, Duality and Damnation' (1977) was long considered the standard work for insight into her writing. He met his wife, artist Margaret 'Peggy' Lampe, at Washington University, Saint Louis, where they both studied in the late 1950s.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition, inscribed by Man Ray in blue ink on title-page, number 510 of 1000 copies on vélin, there were also 200 hors-commerce copies and 25 on Japon; folded sheets (242 x 179 mm, 9½ x 7 in); black \u0026amp; white photographs printed in gravure by Breger, pages toned as usual; photo-illustrated card covers, light wear to extremities, sides rubbed, short tear to foot of spine conserved, publisher's press-numbered ticket laid in, a very good copy; [28]pp.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eThe Book of 101 Books Seminal Photographic Books of the Twentieth Century pp86-7; The Photobook A History, I pp104-5; The Open Book pp118-9; 802 photo books from the Auer collection p217; Paris, Les livres de photographies 1920-1950 pp152-3.","brand":"MAN RAY (pseud. RADNITZKY, Emmanuel); ELUARD, Paul.","offers":[{"title":"Default Title","offer_id":55241903669623,"sku":"115177","price":4500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/115177_01_359a0909-c339-432b-a2f8-bf0c56c77915.jpg?v=1791485833"},{"product_id":"calder-fetes-presentation-copy-117884","title":"Fêtes.","description":"\u003ch4 class=\"srb-faux-head\"\u003epresentation copy inscribed by calder\u003c\/h4\u003eA fine example of the complete portfolio of \u003cem\u003eFêtes\u003c\/em\u003e, with seven aquatints and the original wrappers designed by Calder. \u003cbr\u003e\u003cbr\u003eThe inscription reads, 'Si vous aimez les | Fêtes, | Faites donc | Sandy Calder | Fait pour Gerald | Cramer, quand il aura | fini de Cramer', which loosely translates to 'If you like parties, then go ahead Sandy Calder Made for Gerald Cramer, when he's done burning'. There are two word plays with Fêtes and Faites and Cramer's surname with the colloquial French meaning to burn. Gerald Cramer was a Swiss gallerist and publisher who worked closely with the leading artists of the era.\u003cbr\u003e\u003cbr\u003eFêtes is a prose poem by French author Jacques Prévert, honoring Calder's remarkable achievements as a modern artist. Prévert explained that Calder is a 'sorcerer…of happiness', one whose art is a 'pleasure of eyes and heart'. Prévert was struck by Calder's seemingly effortless process, in which spontaneity, originality, and pure freedom of expression made him unclassifiable.\u003cbr\u003e\u003cbr\u003eIn preparing the illustrations for this project, Calder devised an unconventional technique for printing the brilliantly coloured aquatints that accompany Prévert's text. Calder first made a preliminary drawing in colour, and then cut sheet metal that had been prepared in aquatint to match the drawing. The various metal forms served as printing surfaces, which were laid out on a press and colours applied. The metal plates were then run through the press, transferring the colour to the paper, while simultaneously embossing the sheet.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eLimited edition, one of 150 copies on vélin d'Arches, from a total edition of 225, inscribed in ink to Gerald Cramer on the half-title, signed by the author and artist in pencil on the justification; folio (46 x 34 cm); complete portfolio of 7 aquatints in colour after Calder; loose in the original engraved wrapper with Calder's design, with original orange cloth box, title in black to spine, corner bumped and partly faded, a fine copy.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"CALDER, Alexander; PRÉVERT, Jacques.","offers":[{"title":"Default Title","offer_id":55456506216823,"sku":"117884","price":12500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/117884_07b869ed-979a-4efa-bf72-9fe82c865681.jpg?v=1791479501"},{"product_id":"dali-la-femme-visible-1930-117889","title":"La Femme Visible [The Visible Woman].","description":"\u003ch4 class=\"srb-faux-head\"\u003einscribed by dali\u003c\/h4\u003eThe first edition of Dali's first surrealist work. \u003cbr\u003e\u003cbr\u003eThe 'femme visible' refers to Dalí's wife Gala, who inspired him to create the book and to whom the work is dedicated. Her portrait is placed opposite the metallic covers to provide a reflection of her. It is Dali's manifesto for the paranoiac-critical method, a surrealist technique which consists of the artist invoking a paranoid state, resulting in a deconstruction of the psychological concept of identity, subjectivity thereby becoming the primary aspect of the artwork.\u003cbr\u003e\u003cbr\u003eThe present example is numbered '2\/9 auteur' on the justification and signed by the artist on the half-title. The fragile red and metallic jacket which is often found damaged and torn is in remarkably fresh and unrestored condition.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eLimited edition, numbered 2\/9 'auteur' on the justification, seemingly out of series, inscribed by Dali on the half-title in ink 'hommage de l'auteur Salvador Dali'; 4to (19 x 22 cm); 8 illustrations hors-texte, of which one is a photo-lithographed portrait of Gala, one an original etching, three reproductions of Dali's drawings and three photographic prints; loose as issued in the original aluminium foil paper wrappers covered in red printed glassine, very minor loss of wrappers to spine, a very good copy.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eMichler-Lapsinger 4; Launay 288.","brand":"DALI, Salvador.","offers":[{"title":"Default Title","offer_id":55517781000567,"sku":"117889","price":6500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/117889_8f78d2e5-513e-41a4-9970-2ca88bca3621.jpg?v=1791480280"},{"product_id":"miro-ubu-roi-1966-117890","title":"Ubu Roi.","description":"\u003ch4 class=\"srb-faux-head\"\u003elimited edition signed by Miro\u003c\/h4\u003eRare surrealist illustrations by miro; a key text of the Theatre of the Absurd \u003cbr\u003e\u003cbr\u003eThis portfolio illustrates the play 'Ubu Roi' by the French writer Alfred Jarry, that premiered in 1896 and was part of the genre of the Theatre of the Absurd which thrilled the Surrealists and Dadaist. It was adopted not only by Miró but also by other artists such as Max Ernst or Man Ray. Miró chose to create thirteen large, colourful double-page lithographs for his 1966 illustrations of the play, employing imagery that is characteristically biomorphic and humorous, in keeping with themes of the play. The prints, however, are vividly coloured and finished and are perhaps slightly more painterly than most of Miró's graphic work.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eLimited edition, one of 25 copies reserved for collaborators, this being numbered XXV (from a total edition of 205), signed by Miró in pencil on colophon; folio (43 x 33 cm). pp. (viii), 133, (xv), 13 lithographs printed in colours by Miro,printed by Mourlot, on Arches wove paper, all loose as issued in the publisher's printed wrappers, cream coloured chemise and matching slipcase, slipcase a little stained; a very attractive copy.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"MIRO, Joan (artist); JARRY, Alfred (text).","offers":[{"title":"Default Title","offer_id":55573335802231,"sku":"117890","price":19500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/117890_1a02b8cf-a3a8-4172-a6af-3be343e13a0f.jpg?v=1791486304"},{"product_id":"warhol-queen-ntombi-twala-reigning-queens-1985-109735","title":"Queen Ntombi Twala,","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eQueen Ntombi Twala is one of four portraits which makeup Warhol's renowned portfolio \u003cem\u003eReigning Queens\u003c\/em\u003e, 1985. Each of the four Queens were chosen by the artist because they assumed their thrones through birthright. Queen Ntombi Twala remains the current ruling monarch of Eswatini (formerly known as Swaziland) along with her son and is an important, powerful addition to Warhol's series as the only non-European Queen. \u003cbr\u003e\u003cbr\u003eUsing his characteristic vibrant colour blocking and off-register line drawing technique, Warhol has transformed this regal state portrait into one that is distinctly 'Pop'. In this transformation, Warhol is further building on the regal status of Queen Ntombi making her into an international pop-culture icon. In the present piece, Warhol is showcasing his mastery of off-register line drawing to enhance the elements of her jewellery and crown, drawing attention to the sitter's prestige. The \u003cem\u003eReigning Queens\u003c\/em\u003e portfolio highlights Warhol's lifelong fascination with female icons as powerful global figures as well as his preoccupation with the proliferation of their image.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eUnique screenprint in colours, 1985, on Lenox Museum Board, signed in pencil, numbered 12 and inscribed 'TP', one of 30 unique trial proofs, aside from the standard edition of 40, printed by Rupert Jasen Smith, New York, published by George C. P. Mulder, Amsterdam, sheet: 100 x 80 cm. (39¼ x 31½ in.)\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eFeldman \u0026amp; Schellmann IIB.346-349","brand":"WARHOL, Andy","offers":[{"title":"Default Title","offer_id":55628755206519,"sku":"109735","price":32500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/109735_e5327bdb-b69a-404e-9008-ebdb246a97f7.jpg?v=1791490252"},{"product_id":"andy-warhol-moderna-museet-first-edition-1968-117477","title":"Andy Warhol.","description":"\u003ch4 class=\"srb-faux-head\"\u003ean exceptional copy\u003c\/h4\u003eThis publication, the quintessential exhibition catalogue-as-artists' book, was issued to accompany Warhol's first major European retrospective, held at the Moderna Museet, Stockholm, in February and March 1968. The design and Warhol's themes of media culture and consumer society were hugely influential, particularly for Daido Moriyama and other Japanese photographers during the Provoke era of the late 1960s and 1970s. Kaspar König, working as an intern for the Moderna Museet in New York, developed the initial concept for the book, which Warhol approved. Warhol's dealer Leo Castelli then gave König access to the gallery's documentation archive and their Xerox machine, with which König produced a dummy.\u003cbr\u003e\u003cbr\u003eIn place of an introduction, the first section comprises a small selection of Warhol quotes and aphorisms, including the first appearance in print of the likely misattributed quote: 'In the future everybody will be world famous for fifteen minutes.' The following section reproduces photographs, reproductions of Warhol's artworks and installation views, and a series of photocopies of documentation from Leo Castelli's archive. Two large groups of photos of Warhol and his associates in and around the Factory follow, the first by Billy Name and the second by Stephen Shore, who each composed their sequences. Stephen Shore befriended Warhol as a teenager and frequently visited his studio between 1965 and 1967. Shore has acknowledged Warhol's pivotal influence on him at such a formative age.\u003cbr\u003e\u003cbr\u003eThe book was printed on newsprint on the rotary presses of the Sydsvenska Dagbladet newspaper. Using newsprint helped reduce the costs, but it also gave the book an ephemeral quality that appealed to the editors. The photocopies of documentation material from Leo Castelli's archive play heavily with the repetition and seriality of the imagery, with some images copied multiple times. The book's status as an 'object' stems from its method of production and final form mirroring procedures and ideas used by Warhol at the Factory at the time.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition; (268 x 208 mm, 10½ x 8¼ in); black \u0026amp; white photographs by Billy Name and Stephen Shore, quotes and aphorisms by Warhol in English and Swedish, edited by Warhol, Kasper König, Pontus Hultén and Olle Granath, design by John Melin, Gösta Svensson and Stig Arbman; pages lightly toned as always on account of the use of newsprint, adhesive-bound colour illustrated wrappers after Warhol's 'Flowers' silk-screen, white spine with titles in black, in the publisher's printed mailing box, an exceptional copy; [644]pp.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eThe Open Book: A History of the photographic book from 1878 to the present pp238-9; The Photobook: A History II, pp144-5; 802 photo books from the Auer Collection p480.","brand":"[WARHOL, Andy]. KÖNIG, Kasper et al. (editors).","offers":[{"title":"Default Title","offer_id":55628761170295,"sku":"117477","price":3500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/117477_01_8769aabb-2f42-431c-98d3-aa1c771d3a84.jpg?v=1791477908"},{"product_id":"miro-tzara-parler-seul-paris-1950-118369","title":"Parler Seul. Poème.","description":"\u003ch4 class=\"srb-faux-head\"\u003ebinding by Georges Leroux\u003c\/h4\u003eFrom the edition de tête with an additional lithograph, heightened and signed by the artist.\u003cbr\u003e\u003cbr\u003eTzara composed these poems without punctuation or capitalisation in 1945, at the psychiatric hospital of Saint-Alban, at the invitation of Dr. Lucien Bonnafé. Miro's early books published before the war were sparsely illustrated and so this is considered his first significant artist's book. It also represents the artist's first publishing project in collaboration with Maeght. This copy is one of only 20 examples on velin de Montval. The additional plate has been considerably heightened by Miro in crayon and signed and dated using a mixture of colours. Combined with the exquisite binding by Leroux, this is a superlative example of Miro's \u003cem\u003eParler Seu\u003c\/em\u003el.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eLimited edition, number 18 of 20 copies on Montval, from a total edition of 253, signed by the author and illustrator; folio, (37.5 x 28 cm); half-title, 72 lithographed illustrations (many full-page) printed in black and colour by Joan Miro, with an additional aquatint and lithographed plate heightened with crayon, signed and dated 12 June 1950; original upper wrapper bound in (collage of coloured paper and newsprint with lithographed design by Miro); binding signed and dated by Georges Leroux, 1962, full beige calf, covers decorated with elaborate title composed of onlaid coloured calf over 4 strips of inlaid black calf, spine with names of artist and author onlaid in mottled calf, gilt edges, straw-weave doublures and endpapers, calf-backed chemise and slipcase, both with lithographed designs by Miro on covers, a fine copy.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"MIRÓ, Joan; TZARA, Tristan.","offers":[{"title":"Default Title","offer_id":55628763791735,"sku":"118369","price":47500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/118369_aeaf193f-3c20-43ed-b82f-78d9a969726c.jpg?v=1791486300"},{"product_id":"calder-santa-claus-1974-117886","title":"Santa Claus.","description":"\u003ch4 class=\"srb-faux-head\"\u003eplates all signed by Calder\u003c\/h4\u003eA fine example of the complete portfolio of Calder's illustrations for Cumming's play \u003cem\u003eSanta Claus\u003c\/em\u003e.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eSanta Claus\u003c\/em\u003e was originally published by Cummings in 1946 and is an allegory in five scenes. The characters are Death, Santa Claus, the Crowd, the Child and the Woman and was inspired by Cumming's reunion with his daughter Nancy after a bitter divorce. Alexander Calder illustrates this monumental artist's book with nine full-page etchings, whose simplified linear motifs deftly convey the emotional power of the story.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eLimited edition, number 172 on grand vélin d'Arches from a total edition of 175, large folio (66 x 50.8 cm); 9 etchings each signed by Calder in pencil; loose as issued in brown printed wrappers and brown cloth box with Calder's design to upper cover and title to spine, a fine copy.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"CALDER, Alexander; CUMMINGS, E.E.","offers":[{"title":"Default Title","offer_id":55857028104567,"sku":"117886","price":6500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/117886_1aea18f6-755d-4f60-8a94-75f12e99f002.jpg?v=1791479507"},{"product_id":"gicaometti-paris-sans-fin-1969-118373","title":"Paris sans fin.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eThe first edition of Paris sans Fin, Giacometti's testament to art and modern life in his beloved city. \u003cbr\u003e\u003cbr\u003eFor the publisher, Tériade, it would be a milestone, the last great publication he would see through the press. The two men [Tériade and Giacometti] had maintained a close friendship ever since the Surrealist Years. The one hundred and fifty lithographs are a profoundly interpenetrating view of Giacometti's experience of Paris. He selected the plates to be printed and determined the order of their relationship, numbering each one. The frontispiece shows a nude figure of a woman plunging forward, as though diving into space, and is immediately followed by a quantity of views of city streets, then of interiors familiar to the artist. We come upon views of his studio, of the cafes he frequented, of Annette's apartment in the rue Mazarine and Caroline's in the Avenue du Maine, strangers at cafe tables, passers by, parked automobiles, the towers of Saint-Suplice, bridges across the Seine, The Eiffel Tower. To accompany the hundred and fifty plates, a text of twenty pages was planned, but the artist never got further than a few rough drafts. True, he was a devotee of words, \u003cem\u003eParis sans fin,\u003c\/em\u003e however, said too much to the eye to be in need of other symbols (James Lord, \u003cem\u003eGiacometti: A Biography\u003c\/em\u003e).\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition, this copy unnumbered, from a total edition of 270; large 4to (42.2 x 32 cm); artist's signature stamp to limitation page, 150 lithographs after Giacometti, loose as issued in publisher's printed wrappers, glassine wrappers, cloth chemise and slipcase.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"GIACOMETTI, Alberto.","offers":[{"title":"Default Title","offer_id":55857028530551,"sku":"118373","price":32500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/118373_5cec2a02-d2d4-49b2-b537-6e356fb9d422.jpg?v=1791481919"},{"product_id":"iliazd-picasso-afat-1940-120103","title":"Afat.","description":"\u003ch4 class=\"srb-faux-head\"\u003eone of 50 copies - signed by Iliazd and Picasso\u003c\/h4\u003eThe first of nine books Iliazd and Picasso collaborated on. All of them were published under the imprint of 'Degré Quarante et Un', a name Iliazd chose in memory of a school of futurist poetry called the 'University of the 41º', which he had founded in Tiflis in 1917... \u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eAfat\u003c\/em\u003e is a collection of seventy-six classical sonnets in Russian written by Iliazd, the majority of which were written between January and June, 1938. In his poems, Iliazd writes of love, of feminine beauty, of the poet's difficult métier and the hidden meaning of words. Three sonnets are about the poet's relationship to 'Pablo' (Picasso).' (Patrick Cramer).\u003cbr\u003e\u003cbr\u003eThe sonnets are preceded by two Arabic titles in aquatint by Picasso, both titles are written in kufic letters. The title, \u003cem\u003eAfat\u003c\/em\u003e, is a Persian term signifying unhappiness in love. The second title, 'Madjusiya', means 'sorceress' and the illustrations Picasso produced were inspired by these two words. The first ten examples were reserved for close friends. Coco Chanel's copy, number five, included an extra sonnet dedicated to her.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eLimited edition, number 42 of 50 copies from a total edition of 64, oblong 4to; signed in red by Iliazd and pencil by Picasso on the Russian justification page, with 6 illustrations total: 2 aquatints and 4 engravings with burin on Montval wove à la cuve paper, some minor foxing, more so to some leaves, text in Russian; attached with string, unbound in wrappers reinforced with grey cardboard and a sheet of Montval paper, some pages uncut, title in black kufic lettering on the front; brown paper-covered slipcase, a very good copy.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"ILIAZD (Ilia Zdanevich); PICASSO, Pablo.","offers":[{"title":"Default Title","offer_id":55920312156535,"sku":"120103","price":25000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/120103_310645ec-fb3d-409f-bb6f-3f633e2a7363.jpg?v=1791483304"},{"product_id":"119394","title":"[The Works].","description":"\u003ch4 class=\"srb-faux-head\"\u003eunique dust-jackets by Robert Andrew Parker\u003c\/h4\u003eA selection of works by Vladimir Nabokov from the library of the American artist Robert Andrew Parker, including thirteen volumes in his distinctive hand-designed dust jackets, together with one volume adapted by Parker into a homemade scrapbook containing the serialised version of \u003cem\u003eDespair\u003c\/em\u003e published in \u003cem\u003ePlayboy Magazine\u003c\/em\u003e. Parker was a prolific illustrator and watercolourist who was best known for illustrating books and magazines such as \u003cem\u003eThe New Yorker\u003c\/em\u003e and \u003cem\u003ePlayboy\u003c\/em\u003e, and painting album covers for artists such as Thelonious Monk and Duke Ellington.\u003cbr\u003e\u003cbr\u003eIncluded are the first American editions of \u003cem\u003eDespair\u003c\/em\u003e, \u003cem\u003eThe Real Life of Sebastian Knight\u003c\/em\u003e, \u003cem\u003eConclusive Evidence\u003c\/em\u003e, \u003cem\u003eThe Waltz Invention\u003c\/em\u003e, \u003cem\u003eCongeries\u003c\/em\u003e, \u003cem\u003eThe Defense\u003c\/em\u003e, \u003cem\u003eThe Gift\u003c\/em\u003e, and \u003cem\u003eAda or Ardor\u003c\/em\u003e.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eMixed editions; 14 vols; Robert Andrew Parker's bookplate to front pastedown of most vols, one handmade scrapbook with hand-sewn cut-outs from a magazine, New York Times Book Review supplement on \u003cem\u003eAda\u003c\/em\u003e laid into corresponding volume, with one additional loose illustration by Parker and a photographic portrait of Nabokov, some occasional light foxing; various bindings, wrappers tender at spine folds, thirteen volumes in handmade illustrated dust jackets by Robert Andrew Parker, occasional areas of wear and loss but largely very good.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"NABOKOV, Vladimir; PARKER, Robert Andrew (artist).","offers":[{"title":"Default Title","offer_id":56298316104055,"sku":"119394","price":4500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/119394_4a88a904-a191-4b29-9be1-4a188d12c05d.jpg?v=1791476761"},{"product_id":"roni-horn-to-place-complete-signed-1990-2023-121137","title":"To Place. 1-11 plus the Inner Geography supplement (all published to date).","description":"\u003ch4 class=\"srb-faux-head\"\u003ecomplete signed set\u003c\/h4\u003eA complete signed set of Roni Horn's epic and ambitious, ongoing encyclopedic series 'To Place'. Each volume deals with a different theme, and together they combine to build a portrait of both Iceland and the artist herself. Roni Horn first visited Iceland in 1975, and since then it has become the inspiration and location for much of her work. She explains her fascination as being because, 'Iceland is the place where I have the clearest view of myself and my relationship to the world. By clearest view, I mean a view that is not constricted by social conventions' (In Numbers).\u003cbr\u003e\u003cbr\u003eIn a 1995 interview with Claudia Spinelli for the Journal of Contemporary Art, Horn discussed the importance of this series and its place within her work: 'The entrance to all my work is the idea of an encyclopedia of identity. It is best represented by the books, the series called 'To Place', which is extremely important to me. I have been working on this since 1988. It's really the heart. It is a series of books, each one of which adds to the whole in a way that alters the identity of it retroactively. So the first volume appears to be a book of drawings. The second book was about a completely different subject but in the same format. With the third volume people start to realize something: \"Well, this looks like a series, so there must be some relationship. But I haven't a clue as to what it is.\"... The books are this very slow process of accumulation in the period of a life, my life... The underlying subject stays the same: Iceland and myself, the viewer and the view. This is the dialectic that defines each in itself.'\u003cbr\u003e\u003cbr\u003eTo Place 1: Bluff Life. New York, Peter Blum Edition, 1990.\u003cbr\u003eTo Place 2: Folds. New York, Mary Boone Gallery, 1991.\u003cbr\u003eTo Place 3: Lava. [New York], [Self-published], 1992.\u003cbr\u003eTo Place 4: Pooling Waters (two vols). Cologne, Verlag der Buchhandlung Walther König, 1994.\u003cbr\u003eTo Place 5: Verne's Journey. Cologne, Walther König, 1995. \u003cbr\u003eTo Place 6: Haraldsdóttir. Denver, Colorado, Ginny Williams, 1996.\u003cbr\u003eTo Place 7: Arctic Circles. Denver, Colorado, Ginny Williams, 1998.\u003cbr\u003eTo Place 8: Becoming a Landscape (two vols). Denver, Colorado, Ginny Williams, 2001.\u003cbr\u003eTo Place 9: Doubt Box. Göttingen, Steidl Verlag, 2006.\u003cbr\u003eTo Place 10: Haraldsdóttir, Part Two. Göttingen, Steidl Verlag, 2011.\u003cbr\u003eTo Place 11: Mother Wonder. Göttingen, Steidl Verlag, 2023.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst editions, each signed in pencil; 11 in 13 vols [nos. 1-7, 10-11] (260 x 208 mm, 10¼ x 8¼ in); photographs and reproductions of watercolour and graphite drawings; charcoal grey cloth-covered boards, titles stamped in black on spine and upper sides, coloured dots stamped on spines; [no. 8] (202 × 254 mm, 8 x 10¼ in); photo-illustrated perfect bound wrappers, publishers yellow cloth-covered board box, titles to upper side in black, light blue dot stamped to upper and to spine; [no. 9] 28 plates (202 × 254 mm, 8 x 10¼ in), publishers black cloth-covered board box, titles in black on upper side, white dot stamped to upper and to spine, minor fading to spine, [Inner Geography Supplement] (260 x 208 mm, 10¼ x 8¼ in), lightly toned printed grey perfect-bound wrappers, very minor rubbing to extremities of some volumes, corners of one volume gently tapped, publisher's announcement laid in to no. 8, a near-fine to fine set; various paginations.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eThe Open Book: A History of the Photographic Book from 1878 to the Present pp348-351; The Photobook: A History II, pp164-5; In Numbers: Serial Publications by Artists Since 1955 pp386-393.","brand":"HORN, Roni.","offers":[{"title":"Default Title","offer_id":56930585149815,"sku":"121137","price":9500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/121137_40accb74-aa66-4619-9406-ccb202d215ba.jpg?v=1791488457"},{"product_id":"120962","title":"Anonyme Skulpturen.","description":"\u003ch4 class=\"srb-faux-head\"\u003ean exceptional copy with the promotional poster\u003c\/h4\u003eAn exceptional copy of Bernd \u0026amp; Hilla Becher's first book, with the scarce original folding promotional poster. \u003cbr\u003e\u003cbr\u003eThe publication of \u003cem\u003eAnonyme Skulpturen\u003c\/em\u003e established their work as a pivotal point at the intersection of photography, architecture, and conceptual art.\u003cbr\u003e\u003cbr\u003e'In this book we show objects predominantly instrumental in character, whose shapes are the result of calculation and whose processes of development are optically evident. They are generally buildings where anonymity is accepted to be the style. Their peculiarities originate not in spite of, but because of the lack of design.'\u003cbr\u003e\u003cbr\u003eThe folding poster was distributed to bookshops to announce the publication of \u003cem\u003eAnonyme Skulpturen\u003c\/em\u003e, published by Art-Press Verlag, a Düsseldorf-based publishing house run by Hans Kirschbaum and Eugen Michel, and printed by Michel's printing firm Michelpresse, during his spare time. Hilla Becher noted in an interview that she and Bernd had been approached by several publishers, none of whom would allow them to reproduce their images as they desired. That was until Eugen Michel suggested that he could print the book if they delivered him the design, text, and images. 'He [Eugen Michel] didn't ask how expensive it would be, because he said, I'm going to do it when the printing press is available, and so I'll print one sheet today, and one sheet in two weeks, and it doesn't matter when it's ready' (Balaschak). \u003cbr\u003e\u003cbr\u003eBernd and Hilla Becher seized upon this opportunity to control the presentation of their photographs in the context and format of their choosing. The resulting book was their first significant statement about their work, creating a critical precedent for the numerous exhibitions and books they would later realise.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition; 4to (280 x 220 mm, 11 x 8¾ in); black \u0026amp; white photographs printed in offset; blue cloth-covered boards, spine and upper side stamped in white, photo-illustrated dust-jacket, white with titles in black, fine; [216]pp. [With:] Promotional poster; (264 × 207 mm, 10½ x 8¼ in unfolding to 788 x 608 mm, 31 x 24 in), machine-folded twice horizontally and twice vertically; illustrated with a grid of 9 black \u0026amp; white photographs, text in black and burgundy, upper side lightly marked, minor creasing, light toning to folds, a very good example.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e[Anonyme Skulpturen] The Book of 101 Books pp194-5; The Open Book pp258-9; The Photobook: A History Vol.II p266; What They Saw: Historical Photobooks by Women p1996; Balaschak, Unstable Ground: Photography books and the modern landscape, 1938-1975, p.134. [Promotional poster] Bernd und Hilla Becher: Printed Matter 1964-2013, no.15.","brand":"BECHER, Bernd \u0026 Hilla.","offers":[{"title":"Default Title","offer_id":57010185765239,"sku":"120962","price":5000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/120962_01_bf3aaa2d-b917-49b2-a5a0-9d6113781ce9.jpg?v=1791476859"},{"product_id":"121610","title":"Business Cards.","description":"\u003ch4 class=\"srb-faux-head\"\u003eHowdy\u003c\/h4\u003eRuscha's seventh book, inscribed: 'Best Regards Billy Al Bengston \/ Howdy Ed Ruscha.\u003cbr\u003e\u003cbr\u003eWhile most copies of this title were signed discreetly by Ruscha and initialled by Bengston, this is the first we've seen with such prominent signatures by both artists in the same pen.\u003cbr\u003e\u003cbr\u003eThe idea for this collaboration between Ed Ruscha and his friend Billy Al Bengston was that they would each design a business card for the other, which they would then exchange at a dinner party on a given date. Business cards contains photographs documenting the process from conception through to the exchange. 'The project pokes fun at the seriousness with which corporate identities are designed, while at the same time taking a jab at the art world as a place of business, where artists don ties and jackets and require professional identification' (Wolf, S., Ed Ruscha and Photography p177).\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition, presentation copy inscribed by Ruscha and Bengston in the same pen; (216 x 139 mm; 8¾ x 5½ in); 21 black \u0026amp; white photographs by Ken Price and Larry Bell; loose sheets inserted into original faux wood card wrappers with original rawhide ties, black \u0026amp; white photograph mounted to upper side with photo corners, two business cards stapled to last page, light wear and minor creasing to extremities, a very good copy; [32]pp.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eEngberg \u0026amp; Phillpot, Edward Ruscha: Editions 1959-1999. Catalogue Raisonne (B3); The Book of 101 Books: Seminal Photographic Books of the Twentieth Century pp182-5; The Open Book: A History of the Photographic Book from 1878 to the Present pp198-9; The Photobook: A History II, pp142-3.","brand":"RUSCHA, Edward \u0026 BENGTSON, Billy Al.","offers":[{"title":"Default Title","offer_id":57036179276151,"sku":"121610","price":5000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/121610_01_c67c28c3-45b3-4e7c-9e6b-ba7aa89ee591.jpg?v=1791476999"},{"product_id":"119215","title":"The Western Lands.","description":"\u003ch4 class=\"srb-faux-head\"\u003einscribed to Jean-Michel Basquiat\u003c\/h4\u003eAn exceptional presentation copy inscribed to Jean-Michel Basquiat: 'for Jean-Michel \/ all the best \/ for all the new years \/ William S. Burroughs \/ 12\/19\/87'.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition, presentation copy inscribed in crayon on the half-title; 8vo (228 x 150 mm, 9 x 6 in); stain to the fore-edge that appears to be a former owner's blood; black paper-covered boards, green cloth spine, titles to spine in bronze and black, light pulling to head, minor wear to boards and tapping to corners, illustrated dust-jacket, small chip to upper flap-fold, light softening to head of spine, light wear to extremities, crease to rear panel, soiling and light ink marks to verso, a very good copy; xii, 260pp\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"[BASQUIAT, Jean-Michel.] BURROUGHS, William S.","offers":[{"title":"Default Title","offer_id":57036907872631,"sku":"119215","price":18750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/119215_afd2ff3e-c4df-4fe4-b9af-f55de9705490.jpg?v=1791476734"},{"product_id":"basquiat-signed-1985-123221","title":"Jean-Michel Basquiat.","description":"\u003ch4 class=\"srb-faux-head\"\u003esigned by the artist\u003c\/h4\u003eOne of 1000 copies, each signed by the artist and illustrated with 15 colour plates. A fine example with the original dust jacket.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eLimited edition, one of 1000 numbered and signed copies; 4to; monochrome portrait of Basquiat by Jeannette Montgomery, 15 full-page colour plates (one double-folded); original red cloth and pictorial dust jacket, a fine copy.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"BASQUIAT, Jean-Michel.","offers":[{"title":"Default Title","offer_id":57170508382583,"sku":"123221","price":6500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/123221_b2f60ec5-7f4a-471f-9f47-bc4dbf3d838d.jpg?v=1791478642"},{"product_id":"moore-sheep-1972-123399","title":"Sheep.","description":"\u003ch4 class=\"srb-faux-head\"\u003ethe deluxe edition\u003c\/h4\u003eOne of 15 copies with an additional four etchings. All the sixteen plates are signed and numbered by Moore.\u003cbr\u003e\u003cbr\u003e'Sheep have always had some special meaning for me more so than cows or horses whether it is that I saw them as a boy in parts of the Yorkshire landscape or whether it's from reading in the Bible in early childhood where sheep have a special mention and not horses for instance I really would not like to say.'\u003cbr\u003e\u003cbr\u003e\u003ci\u003eLimited edition, one of 15 deluxe copies from a total edition of 80 plus 15 reserved for the artist and collaborators, this numbered 11, landscape folio; the complete portfolio comprising 12 etchings and the additional suite of four etchings, on Rives with a watermark designed by the artist, with title, text and justification, signed in black ink on the justification, each of the plates are signed and numbered by the artist in pencil; loose as issued in the original printed vellum wrappers and brown cloth box with vellum label cover, a fine copy.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"MOORE, Henry.","offers":[{"title":"Default Title","offer_id":57247413633399,"sku":"123399","price":47500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/123399_b1a7b6ab-1ead-466a-9b0e-624675cebac6.jpg?v=1791486350"},{"product_id":"jack-smith-beautiful-book-1962-110662","title":"The Beautiful Book.","description":"\u003ch4 class=\"srb-faux-head\"\u003ewith 20 as opposed to the usual 19 photographs\u003c\/h4\u003eJack Smith is a key figure in the cultural history of Downtown New York; his influence is foundational in the history of experimental film, queer cinema, and performance art, helping transform the artistic landscape of New York. This copy of \u003cem\u003eThe Beautiful Book\u003c\/em\u003e includes an additional image, meaning it contains 20 gelatin silver photographs instead of the usual 19 (18 photographs by Smith and one portrait of Smith by Ken Jacobs). Except for the additional photograph, the sequence of the images remains consistent with other copies but with one print orientated differently.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe Beautiful Book\u003c\/em\u003e was produced in an intended but unrealised edition of 200 copies. Jack Smith, Piero Heliczer, and their associates assembled the books during the late spring and early summer of 1962 before shooting began on Smith's film \u003cem\u003eFlaming Creatures\u003c\/em\u003e (1963), one of the most notorious underground films of the 1960s, which became a test case of censorship laws. \u003cem\u003eThe Beautiful Book\u003c\/em\u003e contains photographs taken during an extended series of photo sessions at his Lower East Side apartment between 1961 and 1962. Smith planned to give them to Jonas Mekas's \u003cem\u003eFilm Culture\u003c\/em\u003e magazine as a series titled '16 Immortal Photographs'. However, \u003cem\u003eFilm Culture\u003c\/em\u003e declined to publish the work, so he produced \u003cem\u003eThe Beautiful Book \u003c\/em\u003ewith Piero Heliczer's The Dead Language Press instead.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition, one of a planned edition of 200 copies; 4to (225 x 190 mm, 8 3⁄4 x 7½ in); 20 gelatin silver contact photographs (55 x 55 mm, 2¼ x 2¼ in) mounted on yellow pages, minor occasional mirroring; wire-stitched card covers printed in black and yellow after a design by Marian Zazeela, slight crease to foot of spine, stray ink marks to inside covers with minor offsetting to first and last pages, bottom wire pulling at spine, near-fine; [20pp].\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eFlaming Creature p77; The Open Book pp190-1.","brand":"SMITH, Jack.","offers":[{"title":"Default Title","offer_id":57311700615543,"sku":"110662","price":20000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/110662_01_65eca03b-af2e-457f-be16-477331a882de.jpg?v=1791483477"},{"product_id":"picasso-iliazd-hommage-a-roger-lacouriere-1968-124157","title":"Hommage a\u0026#768; Roger Lacourière.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eSigned by Iliazd and nine of the artists, including Picasso, Miro and Ernst. \u003cbr\u003e\u003cbr\u003eA wonderful example of this homage to the Parisian printer and publisher Roger Lacourière, containing original etchings by thirteen artists who collaborated with him in his Montmartre atelier. Picasso not only contributed an etching but also a poem titled\u003cem\u003e Aux quatre coins de la pièce\u003c\/em\u003e which he had engraved on a copper plate. The original plate was lost and there was only one known impression. Through great skill, Iliazd was able give to the poem, in printed form, the same aesthetic as the manuscript-engraving.\u003cbr\u003e\u003cbr\u003eThis collaboration between Iliazd and Picasso is notably scarce due to its small edition. Our example is in the vellum wrappers with the title printed in black as opposed to the more common marbled parchment wrappers with the title printed in red.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition, one of 65 copies on vieux japon, from a total edition of 75, this copy unnumbered but probably one of the XV hors-commerce copies 'réservés aux compagnons', signed by Iliazd in red pencil on the colophon and by nine of the artists on the upper flyleaf; oblong 4to (23.2 x 29 cm); illustrated with 13 drypoint engravings of which three are in colour from the following artists: Beaudin, Bryen, Derain, Dunoyer de Segonzac, Ernst, Giacometti, Magnelli, Marcoussis, Masson, Miro, Pascin, Picasso and Survage; loose as issued in the publisher's vellum wrappers with title printed in black, brown cloth chemise and slipcase with title in black to spine, a fine copy.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"ILIAZD [ZDANEVICH, Ilia]; PICASSO, Pablo.","offers":[{"title":"Default Title","offer_id":57326590624119,"sku":"124157","price":22500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/124157_01_b56cfc35-7e9f-4985-9168-644ade75d72d.jpg?v=1791487670"},{"product_id":"121615","title":"Photographs by Man Ray 1920 Paris 1934.","description":"\u003ch4 class=\"srb-faux-head\"\u003epresentation copy\u003c\/h4\u003eMan Ray's first monograph, a presentation copy inscribed: 'à Marcel Duhamel - \/ les photos sont des objets à retardement \/ mais les plus durables - \/ with love \/ Man Ray'. ['Photographs are time-delayed objects, but the most durable ones.']\u003cbr\u003e\u003cbr\u003eMarcel Duhamel (1900–1977) was a French actor and screenwriter, and founder of the Série noire imprint published by Gallimard, which issued hardboiled detective thrillers by authors including Raymond Chandler, Dashiell Hammett, Horace McCoy, William R. Burnett, Ed McBain, Chester Himes, Lou Cameron, Jim Thompson, and Peter Cheyney. \u003cbr\u003e\u003cbr\u003eDuring the 1920s, Duhamel regularly hosted members of the Surrealist group, including Man Ray, at his house at 54 rue de Château in Montparnasse. It was here, according to André Breton, that they devised the game 'Exquisite Corpse', in which a piece of paper is passed from person to person, folded to conceal each previous contribution.\u003cbr\u003e\u003cbr\u003eMan Ray had hoped that royalties from the sale of this book would enable him to make a long-overdue trip back to New York. \u003cem\u003ePhotographs\u003c\/em\u003e... was well received in France, but in the United States, the reception was distinctly less enthusiastic. Lewis Mumford wrote in \u003cem\u003eThe New Yorker\u003c\/em\u003e that Man Ray had 'done almost everything with a camera, except use it to take photographs... photographing Calla lilies so that they will look like drawings by a second-rate academician.' Commercially, it was not a success. It is widely suggested that in an attempt to generate sales, the publishers recalled the book and replaced the original title page with one stating 'deuxième édition'. The favourable reception in France also led to the 'second edition' being titled in French with attention drawn to the other contributors: \u003cem\u003eMan Ray. Photographies 1920-1934 Paris avec un portrait par Picasso – textes de André Breton Paul Eluard Rrose Sélavy Tristan Tzara –préface par Man Ray\u003c\/em\u003e.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition, second issue with the title page citing the publisher's fictitious claim of a 'second edition'; (384 x 312 mm, 15 x 12¼ in); black \u0026amp; white photographs printed in gravure by The Néogravure Company, texts in English and French by Man Ray, Paul Eluard, Andre Breton, Tristan Tzara, Rrose Selavy [Marcel Duchamp], nick and crease to title-page; colour photo-illustrated covers, with a plastic comb binding by Draeger Frères, light wear, rubbing and marking to lower side, shallow crease to corner, top and bottom tabs torn, a very good copy; [vi], 1-24, [2], 25-42, [2], 43-66, [2], 67-84, [2], 85-104, [2].\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eRegards sur un siècle de photographie à travers le Livre 47; The Book of 101 Books: Seminal Photographic Books of the Twentieth Century pp80-1; 802 books from the Auer Collection p225; Paris, Les livres de photographies 1920-1950 pp148-51.","brand":"MAN RAY (pseud. RADNITZKY, Emmanuel).","offers":[{"title":"Default Title","offer_id":57466059358583,"sku":"121615","price":8750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/121615_01_568edbea-5e9e-4344-8de0-537a294ff654.jpg?v=1791477005"},{"product_id":"aenne-biermann-60-fotos-with-band-1930-116597","title":"60 Fotos...","description":"\u003ch4 class=\"srb-faux-head\"\u003eboth with the publisher's scarce wraparound bands\u003c\/h4\u003eFirst editions of Laszlo Moholy-Nagy and Aenne Biermann's first photographic monographs, each complete with the publisher's scarce wraparound band, which exists in three versions: German, French, and English. These books were supposed to be a part of a much larger series of books titled Fototek, but only the first two were published due to the economic and political circumstances in Germany at the time. Future unrealised titles are announced at the rear of each book, to include 'The Monsterous - Kitsch in Photography'; 'Photomontage edited by Jan Tschichold'; 'The Police Photograph'; 'El Lissitsky 60 Fotos and Typofotos'; 'The Sport Photograph'; and '100 years of Nude Photography', a note also states that several others were being planned. The series was edited by Franz Roh and designed by Jan Tschichold.\u003cbr\u003e\u003cbr\u003eRoh and Tschichold had previously collaborated on Foto-Auge (1929), the book issued to accompany the Film und Foto exhibition in Stuttgart. Sales of the two Fototek volumes were sluggish, and the financial difficulties that Klinkhardt \u0026amp; Biermann encountered due to the economic crisis led to the sale of the publishing house. In March 1932, Franz Roh wrote to the photographer Moi Ver that he still hoped to be able to include his work in a later volume of the Fototek series but that negotiations with the new owners were ongoing. The following March, he again wrote to Moi Ver, stating that he hoped to continue the series with another publisher, adding that he had asked Laszlo Moholy-Nagy to come on board as a co-editor. However, shortly after this, the Nazi Party came to power, and the political and cultural changes in Germany made it impossible to continue a series like Fototek.\u003cbr\u003e\u003cbr\u003eAnna Sibillia Sternefeld was born in 1898 in Goch am Niederrhein, Germany which is close to the Dutch border. In 1920 she married Herbert Joseph Biermann (after her marriage she used the name Aenne or Änne). Her work featured in all the major international photographic exhibitions of the late 1920s and early 1930s including Fotografie der Gegenwart (1929, Essen); Film und Foto (1929, Stuttgart); Das Lichtbild (1930, Munich); Die Neue Fotografie (1931, Basel); and International de la Photographie (1932, Brussels). She died in 1933 after an illness and was therefore spared the Nazi persecution suffered by her family and the family of her husband. In 1939 her widower Herbert Biermann emigrated to Palestine, he attempted to bring Aenne's photographic archive with him but Nazi officials intercepted and confiscated it in Trieste. Her archive has never been fully recovered, and prints of only around four hundred photographs are known to have survived.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e[MOHOLY-NAGY] First edition with the scarce wraparound band in French; 8vo (249 x 175 mm, 9¾ x 7 in); black \u0026amp; white photographs printed in relief halftone by F. Bruckmann AG, Munich, text in German, English, and French, design by Jan Tschichold, light foxing to preliminary and end pages; photo-illustrated wrappers printed in yellow and black, light rubbing, minor wear, light foxing to lower side, publisher's green printed wraparound band, crease to spine, light foxing to lower side, an excellent copy; 11, [60], [5]pp. \u003cbr\u003e\u003cbr\u003e[BIERMANN] First edition with the scarce wraparound band in German; (249 x 175 mm, 9¾ x 7 in); black \u0026amp; white photographs printed in relief halftone by F. Bruckmann AG, Munich, introduction by Franz Roh, text in German, English, and French, design by Jan Tschichold; photo-illustrated wrappers printed in yellow and black, light rubbing to lower side, publisher's red printed wraparound band, minor wear, nick to upper panel, a near fine copy; 76pp.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e[MOHOLY-NAGY] Regards à travers Le Livre 33; Fotografia Pública 586; Auer Collection p158; Autopsie II, pp332–43. [BIERMANN] Regards sur un siècle de photographie à travers Le Livre no. 34; Fotografia Pública: Photography in Print 1919-1939 p57; Autopsie: Deutschsprachige Fotobücher 1918-1945 I, pp332-343; What They Saw: Historical Photobooks by Women 1843-1999 pp62-3.","brand":"MOHOLY-NAGY, L[aszlo]; BIERMANN, Aenne; ROH, Franz (editor).","offers":[{"title":"Default Title","offer_id":57466059391351,"sku":"116597","price":5000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/116597_01_d1970e1d-deee-48b4-a249-1d5230bc0ea7.jpg?v=1791477583"},{"product_id":"brion-gysin-william-burroughs-traces-chelsea-hotel-tile-118434","title":"Traces of the Chelsea Hotel [rubbing of tile in room 712] produced for TIME.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eIn 1965, Burroughs and Gysin made a series of rubbings from the tiles in room 712 at the Chelsea Hotel. Some of these rubbings were issued in the 14 deluxe copies (10 lettered A-J, 4 hors commerce), while others included one of Gysin's calligraphic drawings. In the note on the folder, Gysin explains that the present example belongs to the same series of rubbings but remained separate.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eSingle leaf of white paper (280 x 216 mm) with oil pastel tile rubbings in black and grey, signed 'Gysin '65' in black ink. In a manilla file folder with Gysin's autograph note in black ink dated March 27 1979.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"BURROUGHS, William S. \u0026 GYSIN, Brion.","offers":[{"title":"Default Title","offer_id":57497421578615,"sku":"118434","price":4500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/118434_01_cad3620e-4560-413c-9f8f-06ad5107a03b.jpg?v=1791479321"},{"product_id":"william-burroughs-george-condo-ghost-chance-inscribed-112067","title":"Ghost of Chance...","description":"\u003ch4 class=\"srb-faux-head\"\u003einscribed by Condo to Hilary with an ink and wash drawing\u003c\/h4\u003eFirst edition, one of 160 copies, signed by Burroughs and Condo and additionally inscribed by Condo with an ink and wash drawing of himself and Hilary Gerrard sharing a drink: 'For Hilary, with sincere friendship \/ Condo \/ Paris 92'.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFolio (378 x 258 mm), pp.[62]. 3 etchings and 11 tipped in lithographs, text printed in black and red. Illustrated endpapers. Original black linen-covered boards, gilt stamped black morocco label to spine, matching slipcase. Signed by Burroughs and Condo on the colophon. Inscribed by Condo with an original drawing on the third page. A fine copy.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"BURROUGHS, William S.; George Condo.","offers":[{"title":"Default Title","offer_id":57497429672311,"sku":"112067","price":7500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/112067_01_09200dff-c8dd-412b-9e15-54cf48d1f789.jpg?v=1791490415"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/collections\/Warhol_Ingrid_REDUCED.jpg?v=1791471406","url":"https:\/\/shapero.com\/collections\/frieze-masters.oembed?page=2","provider":"Shapero Rare Books","version":"1.0","type":"link"}