Bronxville, New York: undated (c. 1971). Valenti Angelo. Octavo (24.6 cm), unpaged (18 pages), printed in black, red and grey-green, with a title-page drawing, a half-title decoration, a drawing of leaves as a chapter heading and the printer's device for the Press of Valenti Angelo on the colophon page. The book was printed by the Meriden Gravure Company on cream laid paper and stapled into heavy blue wrappers with Valenti Angelo's "VA" monogram in red. Fine.
New York: Midtown Payson Galleries, 1991. Small folio, 11 1/2" x 9", unpaged, with an introduction by John Whitney Payson and a note by Leonard Baskin, followed by 15 full-page color plates and several pages devoted to a chronology of Baskin, a list of his exhibitions and a bibliography. The angels, as painted by Baskin, all measured 60" x 40", and were composed in gouache, on paper. Added to this copy are several ephemeral pieces, including two large postcard invitations to this and a later Baskin exhibition, gallery news releases, and several printouts of Baskin information from magazines and newspapers. Fine in pictorial wrappers.
New York: Curt Valentin Gallery, 1951-52. First edition. 6 7/8" x 4 3/4". The book is variously paged, and is composed of a set of the gallery's ten exhibition catalogues for that year, in their original wrappers, bound together with a new title page. Exhibitions include Lehmbruck and his Contemporaries, Gerhard Marcks, Sculpture by Painters, Contemporary Paintings and Sculpture, Recent Etchings and Lithographs, Alexander Calder (Gongs and Towers), Pable Picasso, Lyonel Feininger, Ernst Ludwig Kirchner, and Henri Laurens. All are profusely illustrated in black and white.A compliments slip from Curt Valentin is laid in. Fine in brown cloth, gilt spine lettering faded.
London: Nine Elms Press, 1999. Large octavo, 26 numbered pages, being one of the Nine Elms Press series on the Arts and Crafts movement, and specifically on the artist Walter Crane. Besides Gerard's excellent essay on Crane, there is a brief bibliography of Crane's writings on the the theory and practice of art and a list of studies on Crane. The book is beautifully printed at the Whittington Press in an edition of 350 copies set in 12-point Minotype Caslon on Sommerville Laid paper, signed by David Gerard, and bound in deep orange paper and a dustwrapper of William Morris's 'willow' pattern paper, in the same colorway. It is numbered 106 at the foot of the colophon and bears brief pencilled notations from Maggs Bros on the front and rear endpapers. Fine.
Santa Fe, New Mexico: The Owings Gallery, 2010. Small square 12mo, (6" x 6"), a beautifully produced catalogue to accompany an exhibition at the Owings Gallery. An edition f 3200 copies and 64 pages, the book is illustrated in color on almost every page. Henderson (1877-1943), after an eastern upbringing and spells in Chicago and elsewhere, settled with his tubercular wife in Santa Fe, where he participated in the first group art show at the Museum of Fine Arts, and also turned to architecture and furniture design. A fine copy in heavy pictorial wrappers.
New York: Foundation 20 21 / Nyehaus, 2005. An oversized book (13 1/4" x 11 ") of 12 abstract paintings by Humphries in full color on heavy white paper, printed in Milan, and packaged with a poster, unopened and present, folded into a rear pocket of the heavy wrappers. Most of the illustrations are printed recto only. The book is further enclosed by a color-printed mylar jacket and an open-topped white envelope. There are a few very minor wrinkles to the envelope otherwise fine.
New York: Ink, Inc., 2009. Robert Andrew Parker. FIRST EDITION. 11 3/4" x 8 1/4", 310 pages. An autobiography and collection of writings, with profuse illustrations from photographs and art, , this is number 57 of an edition of only 100 copies. From the prospectus: "The definitive "book of Bob". This one-of-a-kind volume selectively chronicles the life, travels, pastimes, collections, enthusiasms, dreams and works of the artist Robert Andrew Parker. With over 300 reproductions in color, most actual size, it includes pages from Parker's many travel sketchbooks, his "artist's" books, writings from the New Yorker and elsewhere, and other prose pieces that appear for the first time. The book is accompanied by an original hand-colored print, signed and numbered, created for this book. The book is bound in a soft burgundy paper folded onto thin boards stamped gilt and a similarly bound portfolio contains the signed, numbered print. The pair is housed in a white slipcase, with an Ink Inc./ notice of two other books by Parker attached to the cover, and with a copy of the prospectus laid in. The entire production is presented in its original mailing carton, with a numbered and illustrated mailing label on the top. Absolutely fine.
New York: James Cohan Gallery, 2002. Quarto, unpaged (approximately 72 pp.), with profuse illustrations of brilliant work by Smith, Taaffe and Tomaselli in black and white but also in color, with some of the plates tipped on. An edition of 2,000 copies, featuring Foye's essay on "The Alchemical Image", interviews with Taaffe and Tomaselli, plus bibliographies. The catalogue was issued to accompany an exhibition at the Cohan Gallery and is bound in stapled plain beige wrappers with a heavy white dustjacket that shows very light soil to the rear panel plus a pale thumb-print impress near the spine. A very good to fine copy.
New York: Nyehaus Foundation, 2005. The work shown in this exhibition catalogue is by the Romanian-American artist Serge Spitzer, 1951-2012, who worked in New York. The parts to the catalogue are enclosed in a legal-size heavy cardboard folder, 14 3/4" x 10 1/2", with a brilliant yellow pleated cloth spine, and what look to be a random series of number labels on the edge of the rear panel. Once opened, there is a 16-page essay by Trevor Smith, "At Play With the Rules of the Game: Serge Spitzer at Nyehaus", two large b/w photographic illustrations of two of Spitzer 's installations, including ReCycle and Quiver, the artists's biography and a bibliography. Following that, an open-ended envelope holds a collection of eight sheets of paper, some trimmed, some nearly blank, some with blue or red graph lines, and two with thin non-linear tracks across the page in red ink. Next, laid in, is a folded gallery poster for this show, which, unfolded, measures 33 " x 27" -- and is absolutely striking. The last item is an open-top pocket containing photographs in color of more works, including Law Blanks, Deadload-Deadlock, Upload, and Leather Ball. As new.
Aspen, Colorado: Baldwin Gallery, 2006. first edition. This is a book of about 40 pages in color and black and white, that was produced to accompany a gallery exhibit, and is number 126 of 1,000 copies. Oversized (12 x 9 1/4", it is largely composed of photographic images of snowflakes, including a double fold-out, by the Starns, the twin brothers who later (2010) did the Big Bambu installation on the roof of the Metropolitan Museum in New York. The book is bound in sheets of heavy-duty cardboard, and is wrapped in a slightly oversized two-sheet dustjacket that is, in fact, a unique ink-jet print, itself protected by a sheet of acetate, The dustjacket bears the limitation number at lower right and titling on the spine. Lower edge of dustjacket just slightly shelf-wrinkled, else fine.