World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
OPEN 12—5 THU—FRI
WEB-SHOP OPEN 24/7.
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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All prices in AUD (Australian dollars)
Pick-Ups
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected.
Return Policy
All sales are final. We do accept returns (for refund, exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
2018, English
Softcover, 364 pages, 14 x 20 cm
Published by
Sternberg Press / Berlin
$62.00 - In stock -
Isabelle Graw’s brilliant analysis of the exceptional position of painting in our increasingly digital economy combines a deep respect for the objects of study and those who make them with an impressive range of critical and theoretical insights. Along the way, The Love of Painting never loses sight of the medium’s dialectical relationship to the art world, the art market, and society at large. This is a lively, provocative, and persuasively argued book.
—Alexander Alberro, author of Abstraction in Reverse: The Reconfigured Spectator in Mid-Twentieth-Century Latin American Art
It’s about time for a book declaring “the love of painting” to appear, afer the aridity of postmodernism’s announcement of painting’s demise. Isabelle Graw’s argument in favor of this love turns on what she terms “vitalistic fantasies”: the perception of artworks as “quasi subjects” saturated with the life of their creator. This notion of the work of art as a quasi subject relates directly to the philosopher Stanley Cavell’s consideration that “the possibility of fraudulence, and the experience of fraudulence, is endemic in the experience of contemporary art.” To understand this we must ask: Why do we relate to works of art in the same way we relate to people? The Love of Painting works on this question—and does so with success.
—Rosalind E. Krauss, author and University Professor at the Department of Art History, Columbia University
Painting seems to have lost its dominant position in the field of the arts. However, looking more closely at exhibited photographs, assemblages, installations, or performances, it is evident how the rhetorics of painting still remain omnipresent. Following the tradition of classical theories of painting based on exchanges with artists, Isabelle Graw’s The Love of Painting considers the art form not as something fixed, but as a visual and discursive material formation with the potential to fascinate owing to its ability to produce the fantasy of liveliness. Thus, painting is not restricted to the limits of its own frame, but possesses a specific potential that is located in its material and physical signs. Its value is grounded in its capacity to both reveal and mystify its conditions of production. Alongside in-depth analyses of the work of artists like Édouard Manet, Jutta Koether, Martin Kippenberger, Jana Euler, and Marcel Broodthaers, the book includes conversations with artists in which Graw’s insights are further discussed and put to the test.
Design by Surface
1978, English
Softcover, unpaginated, 20.5 x 28 cm
1st Edition, Out of print title / used / good
Published by
Thames and Hudson / London
$35.00 - Out of stock
First edition of this volume of 41 colour plates depicting the works of Dutch/Netherlandish fantastic painter Hieronymus Bosch (1450—1516), published by Thames and Hudson, London, 1978, accompanied by texts by Gregory Martin.
Hieronymus Bosch (1450—1516) was a Dutch/Netherlandish painter from Brabant. He is one of the most notable representatives of the Early Netherlandish painting school, his work, generally oil on oak wood, mainly contains fantastic illustrations of religious concepts and narratives. His pessimistic fantastical style cast a wide influence on northern art of the 16th century, with Pieter Bruegel the Elder being his best-known follower. Within his lifetime his work was collected in the Netherlands, Austria, and Spain, and widely copied, especially his macabre and nightmarish depictions of hell. Little is known of Bosch's life. He spent most of it in the town of 's-Hertogenbosch, where he was born in his grandfather's house. Today, Bosch is seen as a hugely individualistic painter with deep insight into humanity's desires and deepest fears. Attribution has been especially difficult; today only about 25 paintings are confidently given to his hand along with eight drawings. About another half-dozen paintings are confidently attributed to his workshop. His most acclaimed works consist of a few triptych altarpieces, including The Garden of Earthly Delights.
Good copy but with some edge wear and tanning to back colour, delicate spine, light markings.
1981, English
Softcover, 174 pages, 23 x 21 cm
1st Edition, Out of print title / used / good
Published by
Thames and Hudson / London
$45.00 $20.00 - In stock -
First 1981 edition of this catalogue published on the occasion of the exhibition at the Palais des Beaux-Arts, Brussels, April 4—May 17, 1981. Heavily illustrated with many works by all artists featured, accompanied by texts by Otto Brecha and Christian Nebehay, this volume explores the radical, shocking and ground-breaking artistic expression of Vienna's "grand three" avant-garde artists at the dawn of the twentieth century. A city bursting with intellectual and sensual energy, Vienna's burgeoning society was constantly at odds with the conservative and often disapproving nineteenth-century culture — Egon Schiele, Gustav Klimt, Oskar Kokoschka often at the center of this controversy. Beautiful examples of their drawings and watercolours in b/w/ and colour throughout.
Good copy with wear to delicate spine and small tear to top of spine cover edge. General age and wear.
1974, English
Softcover, 96 pages, 24cm x 30.5 cm
1st Edition, Out of print title / used / average
Published by
Ballantine Books / New York
$20.00 - Out of stock
First 1974 edition of this volume on Surrealist painter Salvador Dalí, reproducing many of his most famous paintings in colour, edited by David Larkin with an introduction by J.G. Ballard. Painter, designer, and filmmaker Salvador Dalí (1904-1989) was one of the most colourful and controversial figures in twentieth-century art. A pioneer of Surrealism, he was both praised and reviled for the subconscious imagery he projected into his paintings, which he sometimes referred to as hand-painted dream photographs.
Average copy with ageing, tanning and some old moisture ripples creeping into back page edges. Otherwise still bright internally throughout with tight binding.
2022, English
Hardcover, 168 pages, 24 x 30 cm
Published by
RM / Barcelona
$110.00 - Out of stock
A significantly expanded hardcover edition of Carrington's acclaimed Tarot series, featuring new archival images and research.
The British-born Mexican surrealist Leonora Carrington (1917-2011) spent a lifetime exploring the esoteric traditions of diverse cultures, and incorporated their ideas and symbols into her artistic and literary oeuvre. Tibetan Buddhism, the Kabbalah, ancient Egyptian and Mesopotamian magic, Celtic mythology, witchcraft, astrology and the Tarot were filtered through her feminist lens to create a visionary, woman-centered worldview.
Carrington created a spectacular Major Arcana Tarot deck sometime during the 1950s, laying gold and silver leaf over brilliant color. Exhibited for the first time during her centennial exhibition Leonora Carrington: Magical Tales in 2018, this extraordinary work was a revelation for the public and inspired the publication of The Tarot of Leonora Carrington.
This second, considerably expanded edition--encouraged by the overwhelmingly positive reception of Fulgur's publication in 2020--explores further the central position that the Tarot held in Carrington's work. The volume includes an introductory text by her son Gabriel Weisz Carrington, who recalls his mother's long involvement with the Tarot, followed by a revised and more extensive essay by scholar Susan Aberth and curator Tere Arcq, including detailed analysis of each card: their color symbolism, their relationship to other works and their iconographic origins in ancient esoteric beliefs, including the Mesoamerican influences of her adopted country.
This new edition also reproduces previously unpublished photographs and images, as well as exciting new research into Carrington's influences, emphasizing the authors' claim that her work on the Major Arcana represents an esoteric roadmap to Carrington's feminist vision and wish for a new global gender equality toward a better ecological future for our planet.
2021, English
Hardcover, 120 pages, 30 x 24cm
1st Edition, Out of print title / as new
Published by
Fulgur Press / UK
$450.00 - In stock -
The immediately out-of-print Tarot of Leonora Carrington. As New sealed copy.
The British-born artist Leonora Carrington (1917–2011) is one of the more fascinating figures to emerge from the Surrealist movement. As both a writer and painter, she was championed early by André Breton and joined the exiled Surrealists in New York, before settling in Mexico in 1943. The magical themes of Carrington’s otherworldly paintings are well-known, but the recent discovery of a suite of tarot designs she created for the Major Arcana was a revelation for scholars and fans of Carrington alike. Drawing inspiration from the Tarot of Marseille and the popular Waite-Smith deck, Carrington brings her own approach and style to this timeless subject, creating a series of iconic images. Executed on thick board, brightly coloured and squarish in format, Carrington’s Major Arcana shines with gold and silver leaf, exploring tarot themes through what Gabriel Weisz Carrington describes as a ‘surrealist object’. This tantalising discovery, made by the curator Tere Arcq and scholar Susan Aberth, has placed greater emphasis upon the role of the tarot in Carrington’s creative life and has led to fresh research in this area.
The Tarot of Leonora Carrington is the first book dedicated to this important aspect of the artist’s work. It includes a full-size facsimile of her newly discovered Major Arcana; an introduction from her son, Gabriel Weisz Carrington; and a richly illustrated essay from Tere Arcq and Susan Aberth that offers new insights — exploring the significance of tarot imagery within Carrington’s wider work, her many inspirations and mysterious occult sources.
2009, English
Hardcover (w. dust jacket), 184 pages, 30 x 26 cm
1st Edition, Out of print title / used / fine
Published by
Australian Centre for the Moving Image (ACMI) / Melbourne
Govett-Brewster Art Gallery / New Plymouth
Len Lye Foundation Collection / New Plymouth
$90.00 - In stock -
Rare first hardcover edition of this monograph on New Zealand-born experimental film maker and kinetic artist Len Lye (1901-1980), published on the occasion of a major retrospective, organised by the Australian Centre for the Moving Image (ACMI) and the Govett-Brewster Art Gallery (New Plymouth, New Zealand), the largest and most comprehensive exhibition of the artist’s work to date. Edited by Wystan Curnow and Tyler Cann with texts by Alessio Cavallaro, Tylar Cann, Rhana Devenport, Roger Horrocks, Guy Brett, Wystan Curnow, Tessa Laird, Evan Webb, plus chronology, bibliography, lexicon, and much more. Lavishly illustrated throughout. An incredible reference book on this important artist.
Drawing from the Len Lye Foundation Collection and Archives and featuring materials never exhibited before the exhibition and book follows the technical processes and conceptual threads that run through Len Lye’s artistic career, from his earliest sketches, paintings and batiks of the 1920s, through to his photographic work, experimental and documentary films, and astounding motorised steel sculptures from the 1960s and 1970s. Also featured is a wide range of the artist’s notebooks and working materials.
The New Zealand-born Len Lye (1901-1980) is one of the most innovative artists of the modernist era, and a seminal figure in the history of the moving image. Beginning in the 1930s he developed techniques of making films without a camera, applying hand-painted imagery directly to the film strip. Combining these vibrant abstractions with rhythmic Cuban jazz, works such as A Colour Box (1935) have become touchstones for the medium of film as an artistic expression. Lye’s film Free Radicals (1957) is perhaps the culmination of a body of film work that influenced successive generations of experimental filmmakers, including Norman McClaren and Stan Brakhage.
As the ubiquity of the moving image in contemporary culture drives a re-appraisal of its history, the critical recognition of Lye’s films has increased. Less well-known is the diverse range of media, styles and places in which the artist worked. Lye left New Zealand in his early twenties, travelled throughout the South Pacific, and lived for extended periods in Australia and Samoa before settling in London and then, at the close of World War II, New York. As a writer, painter, and kinetic sculptor, as well as in his work in photography, documentary and experimental film, Lye traversed the boundaries of media as readily as he crossed continents.
Informed by his longstanding interest in non-western and prehistoric art, Lye attempted to cut through distinctions of modern and ancient, technological and biological forms. Films such as Tusalava (1929) and Trade Tattoo (1937) share patterns and techniques derived from traditional bark-cloth and batik painting. Lye’s dynamic kinetic sculptures reference dance and the body as much as mechanical technology. Lye’s work consistently makes porous the barriers between different media: his films tend toward paintings or drawings, while his sculptures often evoke the condition of film. In each, Lye was concerned with the encounter between the viewer’s physical body and the raw materials of light, movement and sound. Len Lye stages this meeting in a vivid mix of film and flashing metal.
Very Good copy in VG—Near Fine dust jacket. Only light storage buckling, otherwise as new.
2007, English
Hardcover (w/ 2 cd), 452 pages, 23 x 28 cm
1st Edition, Out of print title / used / very good
Published by
Fondation Cartier pour l’art contemporain / Paris
Éditions Xavier Barral / Paris
$350.00 - In stock -
The first major collection of artwork by the acclaimed movie director David Lynch. Rare English-language first hardcover edition of this long out-of-print, comprehensive book, complete with double-CD accompaniment — an interview with David Lynch in which the artist provides a veritable commentary on his works.
Spanning a period of forty years, David Lynch's widely respected films and television series include Eraserhead, The Elephant Man, Blue Velvet, Twin Peaks, Lost Highway, and Mulholland Drive. However, his prolific visual art production, which began even before his films, has rarely been seen.
In 2007, the Fondation Cartier pour l’art contemporain presented The Air is on Fire, an expansive retrospective exhibition portraying the multiple facets of David Lynch’s art. It was the first time that the artist exhibited such an extensive number of paintings, photographs, drawings, experimental films, and sound creations.
This lavishly illustrated, deluxe volume unveils David Lynch’s little known yet highly prolific artistic production — a reference work that covers the artist’s different fields of creation: painting, photography, drawing, and motion pictures. His visual creations are aesthetic echoes of his films that offer a new look at his work and the opportunity to plunge deeper into his personal world. Includes many texts and an interview with Lynch. The book is accompanied by the seldom present 2 x audio commentary cds.
Very Good—Near Fine copy. Only some storage buckling and a tiny bit of light wear to the lower front cover, otherwise As New and complete. This is the original printing from the museum, in the English version, scarcer still.
1996, English
Hardcover (w. dust jacket), 232 pages, 30 x 25 cm
1st Edition, Out of print title / used / very good
Published by
Richter Verlag / Dusseldorf
$200.00 - In stock -
Rare first hardcover edition of Brice Marden — Work Books 1964-1995, published by Harvard University Art Museum and Richter Verlag on the occasion of the major travelling exhibition of 1997—1998 (Staatliche Graphische Sammlung München, Kunstmuseum Winterthur, Wexner Center for the Arts, The State University of Ohio, Harvard University Art Museum). Profusely illustrated throughout presenting the comprehensive and important workbooks and sketchpads of American minimalist Brice Marden (b. 1938) together in one volume. With illustrated essays by Dieter Schwarz and Michael Semff. With an exhibition history, bibliography, biography, and list of works. Bi-lingual texts in German and English.
Brice Marden (b. 1938) is an American artist known for his subtle explorations of colour and gestural lines. Marden, who rose to prominence in 1960s New York, is renowned for an ever-evolving abstract practice with roots in Minimalism, Abstract Expressionism, and calligraphic traditions. Throughout his lyrical canvases, Marden paints colourful networks of serpentine lines that flow hypnotically throughout the picture plane. He sometimes replaces his paintbrush with a stick, giving his lines a more organic appearance. Such interest in line, gesture, and material experimentation is at the heart of Marden’s drawing and painting practices; early in his career, he painted with a kitchen spatula.
First hardcover edition, VG—Near Fine. VG—NF dust jacket.
2022, English
Softcover, 368 pages, 12 x 16 cm
Published by
A+m Bookstore / Viaindustriae
$75.00 - In stock -
This book is not a proper catalogue raisonné, but rather an invitation to browse the library of an amateur. It allows us to consider an important aspect of Richard Prince’s work, addressing books as well as the notion of a collection and its incompleteness, revealed here by the “ghosts” of missing books. It encompasses his library and his production of artists’ books over the past four decades, the direct result of an avid book designer and collector who is also widely recognised for his painterly and photographic practice. His zeal for bound works is expressed in many instances where he photographs tomes from his own collection, transforming the publication into an infinite library.
2022, English
Softcover (staple-bound), 16 pages, 29.7 x 21 cm
Edition of 50,
Published by
Light of Day Books / Melbourne
$10.00 - In stock -
Waste, c.1995 -2005 is a 16 page zine of 16 black and white photographs by Stephen Bram and Andrew Hurle, the second in a series of six artist zines published by Light of Day Books, Melbourne, 2022.
The bottle bongs shown in Waste were collected during walks we took with our dogs Bea and Harry through marginal areas of parks, by rivers and creeks and through abandoned industrial areas in Melbourne; places which offered some seclusion and refuge and gave some license, however temporary and conditional, to simply be.
Stephen Bram's works in various media in relation to points in space (perspective paintings, objects, environments, prints) have been exhibited in a variety of contexts since 1987. Recently, exhibitions of or from other bodies of work have been held at Guzzler (Unstable Painting, 1991), Conners Conners, and Anna Schwartz Gallery.
Andrew Hurle is an independent artist and researcher born in Australia who now lives and works in Berlin, Germany.
2010, English
Hardcover (w. dust jacket), 176 pages, 23.5 x 27.3 cm
1st Edition, Out of print title / as new
Published by
Hammer / Los Angeles
Prestel / Munich
$190.00 - Out of stock
As New copy of this major hardcover catalogue on the work of Charles Burchfield, now out-of-print.
Although he lived next door to Niagara Falls, artist Charles Burchfield (1893–1967) chose to focus his nature-based art on the ground beneath his feet. Curated by artist Robert Gober, this exhibition features over one hundred major watercolors, drawings, oils on canvas, sketches, notebooks, journals, and doodles by this visionary American artist. Acclaimed by critics and known to a broad public audience during his lifetime, Burchfield is curiously under-appreciated today. Working almost exclusively in watercolor, Burchfield’s primary subject was landscape, often focusing on his immediate surroundings: his garden, the views from his windows, snow turning to slush, the sounds of insects and bells and vibrating telephone lines, deep ravines, sudden atmospheric changes, the experience of entering a forest at dusk, to name but a few. He often imbued these subjects with highly expressionistic light, creating at times a clear-eyed depiction of the world and, at other times, a unique mystical and visionary experience of nature.
The book includes drawings from his 1917 sketchbook, Conventions for Abstract Thoughts; watercolours from 1916–18 that were the focus of the first one-person exhibition at The Museum of Modern Art, Germany, in 1930; camouflage designs from his tour in the army and wallpaper designs from the 1920s; watercolors from the 1940s showing the artist’s unique technique of expanding and reworking earlier works by pasting large strips of paper around them to dramatically increase their size; and finally Burchfield’s large, transcendental watercolours from the 1950s and 1960s.
Heat Waves in a Swamp: The Paintings of Charles Burchfield was organized by the Hammer Museum, Los Angeles, in collaboration with the Burchfield-Penney Art Center, Buffalo, New York.
Edited by Cynthia Burlingham and Robert Gober, with contributions by Dave Hickey, Tullis Johnson, and Nancy Weekly.
As New copy, now out-of-print.
2001, English / Japanese / German
Hardcover, 126 pages, 23 × 29cm
1st Edition, Out of print title / used / good
Published by
Imex Fine Art / Japan
$100.00 - Out of stock
Beautiful hardbound out-of-print Japanese book of Gerhard Richter's "Atlas", published by Imex Fine Art on the occasion of a major travelling solo exhibition in Japan in 2001.
As well as surveying a selection of Richter's dense "Atlas" work across the bulk this book's full-colour spreads (including a complete cataloguing of all reproduced works and their details), this book includes an overview of Richter's career of works, texts in in both English and Japanese by Helmut Friedel and Sumi Hayashi, a history of Richter's work (reproducing a selection of his paintings and photographs), plus portraits, a bibliography and biography.
Gerhard Richter's Atlas is a collection of photographs, newspaper cuttings and sketches that the artist has been assembling since the mid 1960s. A few years later, Richter started to arrange the materials on loose sheets of paper.
"In the beginning I tried to accommodate everything there that was somewhere between art and garbage and that somehow seemed important to me and a pity to throw away."
Good copy with light buckling from storage, bump to top of spine, otherwise VG throughout. First, only edition.
1996, English
Softcover, 128 pages, 28 x 24 cm
1st Edition, Out of print title / used / good
Published by
Art Gallery of New South Wales / Sydney
$30.00 - Out of stock
First edition of this out-of-print important survey catalogue published by The Art Gallery of NSW, Sydney, 1996, on the occasion of a major retrospective of the work of Godfrey Miller. The New Zealand born Godfrey Miller became one of Australia's most admired artists of the mid-twentieth century. His shyness, combined with the way he continued to work and rework his paintings meant that the full extent of his theosophically inspired oeuvre was not revealed until after his death. Profusely illustrated throughout with Miller's paintings, studies and sketches, important essays by Deborah Edwards, John Henshaw, and Ann Wookey.
A visionary who rejected the materialism of his age, Godfrey Miller (1893—1964) was deeply cerebral and monk-like in his quest to create work that accorded with his view of the universe as an intensely felt, shimmering kaleidoscope in continual flux. Exploring geometric abstraction, he echoed the rhythms of life in paintings of immense graphic complexity, which he completed gradually over long periods of up to a decade.
Good copy with some wear and old moisture damage to the inside of the fold of the back cover and tips of corners to the end of book.
1997, English / German
Hardcover (w. dust jacket), 208 pages, 17.8 x 25.4 cm
1st Edition, Out of print title / used / very good
Published by
Kunstmuseum Bern / Bern
$80.00 - Out of stock
"Pictures, if they are to have effect, must have the tremendous intensity of silence [...] the silence before the storm."
First hardcover edition of Luc Tuymans — Premonition : Zeichnungen / Drawings, published by Kunstmuseum Bern in 1997 and long out-of-print. Beautifully designed volume on the Belgian artist Luc Tuymans works on paper, which, like his renowned paintings, explore people's relationship with history and confront their ability to ignore it. His haunting drawings are reproduced in colour and b/w, with texts (bi-lingual English and German) by Josef Helfenstein, Hans Rudolf Reust, and Lawrence Rinder. Concept by Tuymans and Helfenstein.
Very Good—Fine copy in VG—Fine dust jacket.
1989, German
Hardcover (w. dust jacket in slipcase), 302 pages, 31 x 25 cm
1st Edition, Out of print title / used / very good
$85.00 - In stock -
First hardcover, slipcased edition of this major catalogue published in Germany on the occasion of the Morandi survey exhibition that toured Tampere, Leningrad, Moscow, London, Locarno, Tubingen and Dusseldorf between 1988—1990. Profusely illustrated throughout with a catalogue of Morandi's paintings and drawings, and documentation of a critical anthology, biography, bibliography and more. Edited by Marilena Pasquali with essays Werner Haftmann, Pier Giovanni Castagnoli, Marilena Pasquali, Flaminio Gualdoni, Giuliano Briganti, Michael Semff and Fabrizio D`Amico. German langauge.
Very Good, almost As New, preserved with VG dust jacket in original box slipcase. Scarce in the hardcover edition.
2022, English / German
Softcover, 480 pages, 17 x 23.5 cm
Published by
Edition Skylight / Switzerland
$85.00 - Out of stock
At last, a new and considerably expanded edition of Sorayama’s acclaimed COMPLETE MASTERWORKS in enhanced print quality for this special enlarged edition.
A Grandmaster of technical and erotic phantasy without limits, Japanese artist, global phenomenon and enfant terrible, Hajime Sorayama's erotic, futuristic, hyper-realistic illustrations create a visual landscape that would be impossible to achieve in photography alone. Only Sorayama, equipped with boundless imagination, is able to achieve this, using pencil and brush, acrylic paint, and his airbrush. This thick tome of over 1000 illustrations is a comprehensive reference catalogue to Sorayama's rich and iconic work, including new, unpublished works. His Complete Masterworks speak of extraordinary talent, wondrous imagination, and impeccable skill.
“Sorayama’s surreal and futuristic dadaist images not only produce incredible sensations in the observer, but also blend into a unique homage to life. With joyful freedom he combines and morphs fear with happiness, pain with pleasure, repulsion with attraction, past with future, flesh with metal, the organic with ethereal. Stronger than any constraint, the energy of life and love that goes through his work is what I admire most in his amazingly perfect technique.”—Thierry Mugler
Hajime Sorayama (b. 1947) is a Japanese illustrator known for his precisely detailed, erotic portrayals of feminine robots, along with his design work on the original Sony AIBO. He describes his highly detailed style as "superrealism", which he says "deals with the technical issue of how close one can get to one's object."
2019, English / German
Softcover, 384 pages, 20 x 25 cm
1st Edition, Out of print title / as new
Published by
Ludwig Museum / Cologne
$85.00 - Out of stock
Family, clan, clan, gang, clique, clique, fandum, elective kinship, alliance, collaboration, network.
In the 1990s a new art scene began to form in Cologne. New galleries, magazines such as Texte zur Kunst, and the alternative exhibition space Friesenwall 120 were started. Alexander Schröder followed these developments from Berlin. Already as an art student at the Hochschule der Künste Berlin, he founded his own gallery along with Thilo Wermke. At the same time, he began collecting art from the 1990s and 2000s with his special eye.
Today his collection exemplifies the idiosyncratic and sensual side of this era, which was shaped by Conceptual Art. It demonstrates the significance of artist groups and collaborations in changing constellations at the time. Proximity and distance, connections and competition, inclusion and exclusion existed in productive friction with each other. Now the Schröder family has donated twenty-nine works from their collection, including large-scale installations, to the Museum Ludwig by artists such as Kai Althoff, Cosima von Bonin, Tom Burr, Lukas Duwenhögger, Isa Genzken, and Danh Võ. The exhibition Family Ties: The Schröder Donation presents these works to the public along with a selection from the Museum Ludwig collection. It focuses on art at the turn of the twenty-first century and examines the special conditions that existed in Cologne, also in relationship to New York.
The chronological documents (the works of art themselves, the invitations, flyers, fanzines, journals and texts from the 1990s to the 2000s) arranged on a timeline in this catalogue provide an insight into the development of art at that time in Cologne and New York. Selected essays and reviews reflect the at that time virulent theoretical debates; selective metadata point to drastic socio-political events and influential exhibitions. The catalog accompanies the exhibition Schroeder with works by Kai Althoff, Cosima von Bonin, KP Brehmer, Tom Burr, Luke Duwenhögger, Isa Genzken, Dan Graham, Renee Green, Ull Hohn, Hilary Lloyd, Lucy McKenzie, Christian Philip Muller, Nils Norman, Stephen Prina and Danh Vo.
1988, English
Softcover (staple-bound), 24 pages, 21.5 x 28 cm
1st Edition, Out of print title / used / very good
Published by
Exit Art / New York
$220.00 - Out of stock
Wonderful, extremely rare 1988 catalogue published to accompany the important solo exhibition of US-Chinese artist Martin Wong (b. 1946, Portland, US, d. 1999, San Francisco) at Exit Art, New York, November 5—December 23, 1988, curated by Jeanette Ingberman. Illustrated throughout with Wong's paintings accompanied by text by John Yau. Includes gorgeous portrait and biography.
Martin Wong is recognized for his depictions of social, sexual, and political scenographies from the US in the 1970s, 1980s, and 1990s. Poetically weaving together narratives of queer existence, marginal communities, and urban gentrification, Wong stands out as an important countercultural voice at odds with the art establishment’s reactionary discourse at the time. Heavily influenced by his immediate surroundings, the artist’s practice merges the visual languages of Chinese iconography, urban poetry, graffiti, carceral aesthetics, and sign language. His work offers rare insight into decisive periods of recent US American history as told through its changing urban landscapes, unfolding hidden desires, and complexities.
Very good copy with only light creasing and tanning.
2019, English
Softcover, 152 pages, 21cm x 19cm
Published by
Yale University Press
$43.00 - Out of stock
Wassily Kandinsky (1866–1944) was a Russian pioneer of abstract painting whose work has influenced generations of artists. His Sounds (Klänge) of 1912 is one of the earliest, most beautiful examples of a 20th-century artist’s book. Its “sound poems” are alternately narrative and expressive, witty and simple in form. They treat questions of space, color, physical design, and the act of seeing in a world that offers multiple and often contradictory possibilities. The woodcut illustrations that accompany the poems range from representational designs to abstract vignettes. In its fusion of image and word, Sounds epitomizes the artist’s move toward abstraction and his aspiration to a synthesis of the arts.
This updated edition of Sounds includes all of the book’s poems in English and German and its woodcuts, twelve of which appear in color for greater fidelity to the original. The translator’s introduction offers close formal examination of the poems and situates Sounds in the context of Kandinsky’s oeuvre. Although it was prized by prominent 20th-century artists, Sounds is one of the least known of Kandinsky’s major writings, and this remains the most authoritative English version.
2022, English
Softcover, 184 pages, 10.8 × 17.6 cm
Edition of 400,
Published by
Discipline / Melbourne
$25.00 - In stock -
Australian artist David Egan's (b. 1989) exploration of Colour Handling — Colour as Embodied Substance in Jutta Koether's Red Paintings; Colour as Portal in Rosie Isaac's Green Mirror; Colour as Time Machine in Tony Conrad's Yellow Movies; Colour as Dissemblance for Pain in Derek Jarman's Blue; Colour as Medium in Etel Adnan's Worldly Paintings.
Originally written as part of a practice based PhD in Fine Art, completed at Monash University Art, Design & Architecture in 2022, this popular paperback book edition has been edited by Helen Hughes and Amy Stuart, with an introduction by Tessa Laird, designed by Zenobia Ahmed, and published by Discipline in an edition of 400 copies. Features accompanying full-colour plates section.
2018, Japanese / Italian
Softcover (w. dust jacket), 380 pages, 25.7 x 19 cm
1st Edition, Out of print title / as new
Published by
Museum of Modern Art / Kamakura
$89.00 - Out of stock
First edition of the incredible Japanese Bruno Munari Retrospective catalogue, published on the occasion of the largest ever survey exhibition of Bruno Munari's work, that travelled across Japan in 2018. At nearly 400 pages, this profusely colour-illustrated book begins with Munari's early futurist paintings and mobile sculptures and carries the reader through his entire career, generously showcasing throughout an impressive archive of his innovative and iconic graphic works in book and poster design, sculpture, illustration, interior/furniture design, games, art objects, his Xerografia, and much more. It's all here! A wonderful document of material. Texts in Japanese and Italian, with a full chronology, and extensive list of exhibited works. Stunning.
Bruno Munari (October 24, 1907, Milan – September 30, 1998, Milan) was an Italian artist, designer, and inventor who contributed fundamentals to many fields of visual arts (painting, sculpture, film, industrial design, graphic design) in modernism, futurism, and concrete art, and in non visual arts (literature, poetry) with his research on games, didactic method, movement, tactile learning, kinesthetic learning, and creativity.
2022, English
Softcover (w. dust jacket), 256 pages, 10.9 x 180 cm
Published by
Sternberg Press / Berlin
$30.00 - Out of stock
Newly commissioned writing and artwork on the themes found in the work of Cecilia Vicuña, including ecofeminism, indigenous forms of knowledge, dissolution and extinction, and exile.
What happens between the knots? is the third book in the annual A Series of Open Questions published by CCA Wattis Institute for Contemporary Arts and Sternberg Press. Each book in the series includes newly commissioned writing as well a selection of perspectives, images, and references related to the Wattis's year-long research seasons dedicated to single artists. Each book takes the work of a single artist as its point of departure and spirals outward from there to create an expansive and carefully edited ecosystem of ideas and voices.
This third issue is informed by themes found in the work of Cecilia Vicuña, including ecofeminism, indigenous forms of knowledge, poetry and politics, dissolution and extinction, exile, dematerialization, regeneration, and environmental responsibility.
Contributors
Gloria Anzaldua, Elvira Espejo Ajca, Erika Balsom, María Berrios, Marisol de la Cadena, Lynne Cooke, Miho Dohi, Ricki Dwyer, Silvia Federici, Tonya Foster, Phillip Greenlief, Sheroanawe Hakihiiwe, Brian Karl, Dionne Lee, Zoe Leonard, Rosemary Mayer, Koyoltzintli Miranda-Rivadeneira, Denise Newman, Thao Nguyen Phan, Frances Richard, Dylan Robinson, Abel Rodriguez, Oscar Santillan, Alessandra Troncone, Anna Lowenhaupt Tsing, Ignacio Valero, Jacopo Cathrine Veikos, Cecilia Vicuña, Diego Villalobos, Jacopo Crivelli Visconti, Carla Zaccagnini
1978, English
Softcover, 268 pages, 28 x 22 cm
1st Edition, Out of print title / used / very good
Published by
National Gallery of Art / Washington
$45.00 - In stock -
First edition of Edvard Munch : Symbols & Images, published by National Gallery of Art, Washington, 1978, on the occasion of a major American exhibition of Munch held at the National Gallery of Art, November 11, 1978—February 19, 1979, "providing viewers an opportunity to experience the full range of Munch's genius, both in painting and also in graphic work, in which he was one of the virtuosos of his age. The catalogue essays examine the emergence of Expressionism in northern Europe and explore the relationships that recent scholarship has shown to exist between Expressionism and the stylistic imperatives of Impressionism and the School of Paris. The catalog reexamines Munch as not only an artist who created a new tradition but also as an heir to existing 19th-century traditions. Many of the works included on loan from 20 collections had never before left Norway, where over 90 percent of Munch's art remains." — Publisher. Profusely illustrated throughout. Texts by Arne Eggum, Reinhold Heller, Trygve Nergaard, Ragna Thiis Stang, Gerd Woll, and more.
Edvard Munch (1863—1944) was a Norwegian painter and printmaker and one of Modernism's most significant artists. His best known work, The Scream, has become one of Western art's most iconic images. His childhood was overshadowed by illness, bereavement and the dread of inheriting a mental condition that ran in the family. Unable to attend school, Munch's poor health also gave him the freedom to pursue his passion – drawing. His tenacious experimentation and intensely evocative treatment of psychological themes built upon some of the main tenets of late 19th-century Symbolism and greatly influenced German Expressionism in the early 20th century.
Very Good copy, light wear to covers.