Stefano Pane Monfeli
Bologna: Damiani, 2011.

Autobiographical art monograph by the Italian street artist.

Barry McGee
New York: Deitch Projects, 1999.

Catalogue for a gallery exhibition for street artist Barry McGee AKA Twist. Includes numerous blank pages for hand-embellishment.

Rabindranath Tagore
New Delhi: Lalit Kala Akademi, 1961.

20 plates of paintings by the Bengali poet, with an introduction by Prithwish Neogy.

Yao Jui-Chung
Taipei: Garden City Publishing, 2010.

Monograph published to accompany the solo exhibition of Taiwanese artist Yao Jui-Chung. One of 500 signed and numbered copies.

l’Association des Amis du Vieux Hue
Hanoi: Imprimerie d’Extreme-Orient, No date.

A separately issued volume associated with the Bulletin des Amis du Vieux Hue and a classic of Vietnamese motifs, art, and architecture. The Association des Amis du Vieux Hue was a French colonial-era scholarly society based in Hue, the Bulletin was issued 1914-1944, this special issue circa 1925.

Raoul Lehuard
Arnouville: Arts d’Afrique Noire, 1989.

W. y B. Forman
Mexico: Editorial Hermes, 1963.

The art of the ancients and primitives: Anterior Asia – India – Indochina – Tibet – China – Japan – The Tchutches.

Ron English
New York: English & Eichman, 1988.

First published book by the American contemporary artist Ron English (1959-), being a collection of line drawings. The cover photograph by Charles D. Herold shows English painting a street mural. Introduction by Mark Kostabi. Only 1 copy recorded in OCLC, at New York University.

Mark Ryden
San Francisco: Porterhouse Fine Art Editions and Last Gasp, 2001.

Monograph from the early-mid career of the highly influential lowbrow pop surrealist American painter Mary Ryden (1963-). This copy signed by Ryden to the title page.

B. N. Goswamy
Ahmedabad: Sarabhai Foundation, 2010.

Catalogue of paintings in the collection, each with an extended text description.

Tomoko Sato
New York: Mucha Foundation Publishing, 2025.

“This volume reappraises the graphic work of Alphonse Mucha and explores its influence on graphic art since the 1960s. Published in conjunction with a touring exhibition in the US & Mexico, this volume surveys the development of Mucha’s style, synonymous with Art Nouveau. It explores how it was rediscovered by later generations of artists, becoming an artistic idiom for the Psychedelic Art of the 1960s and 1970s as well as a wide range of visual culture from the late 20th century to today. Coinciding with the opening of the new Mucha Museum in the baroque Savarin Palace in Prague, ‘Timeless Mucha’ is organised into three thematic sections: Inspirations for the Mucha Style, Le Style Mucha, and Art Nouveau and The Rebirth of the Mucha Style and Its Legacy. The first two sections focus on Mucha’s artistic development, examining the theoretical basis of Mucha’s style–famously known as “le style Mucha” in fin-de-siecle Paris–and its context. Tracing the artist’s footsteps from his youth in Moravia through the 1890s, when he attained fame as a poster artist, the first section highlights a selection of works of art, crafts and books from his own collection. The third section explores visual links between Mucha’s artistic idiom and the styles developed by later generations of artists. While Mucha’s style continues to influence today’s visual culture, including fashion, animation movies and computer games, this catalogue also focuses on a philosophical aspect of Mucha’s legacy: the art of message-making.”

Cressida Campbell
Brisbane: Philip Bacon Galleries, 2017.

Exhibition catalogue exhibiting at Mossgreen, Woollahra.

Katherine N. Simitian
Stoke-on-Trent: The Lytlewode Press, 2007.

Being a monograph dealing with the development of an Australian private press featuring eighty-nine etchings printed in the atelier of The Press. A short history of the Littlewood Press from 1996 to 2007 featuring original etchings printed at the Press editioned from its published works and commissioned artists including Sir Lionel Lindsay, Norman Lindsay, Derham Groves, Allan Jordan, Trish Hart, Tony Irving, Pro Hart, Andrew Sibley, Caitlin Littlewood, Robbie Harmsworth, Peter Jones, Marc Severin, and Leslie Tarrant. Bound in stingray, likely the first Australian publication using this skin, the natural white star of the skin forming a decorative emblem to the spine. The idea for this book originated in 1996 when the publisher undertook to print ten additional copies of every etching printed at the press with the intention of creating a history volume at a later date. A number of the etchings are ex libris bookplates. One of the finest Australian art publications, limited to just 10 copies, signed and numbered by the author and the publisher, 5 of which are housed in Australian institutions. This copy is number 10 and includes the original prospectus, The History of The Littlewood Press, featuring an additional Trish Hart etching and signed by the publisher, Robert Littlewood. Issued with 81 of the 89 listed etchings, and with 4 of the Pro Hart etchings supplied twice, making for a total of 85 etchings and photographic portrait of the publisher. The plates not included as per the checklist are: 10. Trish Hart: Nesting Gull; 34. Tony Irving: The Old Kiosk [Black]; 37. Tony Irving: Home Alone [Black]; 39. Tony Irving: Ramsen Place; 40. Tony Irving: Drewery Lane; 42. Tony Irving: Hosier Lane; 43. Tony Irving: Waratah Place; 44. Tony Irving: China Town. The four Pro Hart plates that are included in duplicate are: 45. Singers at the Southern Cross Hotel; 46. Miner’s Kids; 47. Yabbie Picnic; 48. Gethsemane. The plates not included do not appear to have been removed, but as in true Private Press fashion, the difference in actual issue to the stated intention differing as per the whim, requirement, or temperament of the publisher.

Howard Chaykin
Denver: Middle Earth, 1977.

Portfolio by American comic book artist Howard Chaykin, the first plate signed and numbered by him and with a COA signed by the publisher. Edition of 1,000 numbered copies.

Stanislav Szukalski
San Francisco: Last Gasp, 2000.

Introduction by Robert Williams. Edited by Glenn Bray and Lena Zwalve.

Qiu Zhijie
Singapore: Singapore Tyler Print Institute, 2008.

A series of artworks based around the Nanjing Yangtze River Bridge, listed as the location of the world’s highest number of suicides by jumping.

Keiko Kiyohara
Tokyo: Abe Shuppan, 2017.

Monograph of Japanese printmaker Keiko Kiyohara (1955-1987). This copy with the catalogue, The Etcher, Kiyohara Keiko Retrospective, from the Hachioji Yumi Art Museum (2017) laid in.

Kohei Nawa
Tokyo: AKAAKA Art Publishing, 2011.

The extensive catalogue accompanying the 2011 solo exhibition at the Museum of Contemporary Art Tokyo, the first to present a comprehensive view of all of Nawa’s work to date. Includes an original work by Kohei Nawa mounted in an enclosure on the lower board.

Nicholas Tsoutas
Sydney: Campbelltown Arts, 2018.

Accompanying book to exhibition by artist run collective Imperial Slacks held across the Campbelltown Arts Centre and Sydney College of the Arts Galleries in 2015. Imperial Slacks challenged the traditional model of artist run spaces, using their collective to test alternative attitudes towards curating.

Yokoo Tadanori
[Kobe]: Yokoo Tadanori Museum of Contemporary Art, 2019.

Published to accompany the 2019 exhibition dedicated to works that Tadanori created in front of live audiences. Tadanori thrives on the focus, and the energy, that painting in public provides and this catalogue includes photos of audiences observing the artist.

Hiroshi Hara
[Tokyo]: [Takeo Paper Co.], No date.

Exploring the possibilities of opaque ink. A sample book created by paper firm Takeo Paper featuring works by famous graphic designers and photographers printed in various inks. Features work by Kishin Shinoyama, Keisuke Nagatomo, Seitaro Kuroda, Satoshi Kondo, Ayumu Ohashi, Tamotsu Ejima, Yoshihiro Tatsuki, Tadahito Nadamoto, Eiko Ishioka, Keiichi Tanaami, and Makoto Nakamura. Curated by Hiroshi Hara.

Luigi Serafini
New York: Rizzoli, 2013.

The deluxe 2013 edition of the ever mysterious Codex Seraphinianus by Italian artist Luigi Serafini (1949-). Possibly an illustrated encyclopaedia of an alternate universe, Serafini has alluded that it is perhaps all just the thoughts of a cat passed through his hand. The Codex is written in an imaginary language and illustrated phantasmagorically throughout. This being the deluxe 2013 edition, being the second Rizzoli edition, expanding on their 2006 edition. The deluxe edition was published in an edition of 600 copies, of which this is number 70, signed and numbered by Serafini on a plate mounted to the colophon and includes the Decodex in the rear pocket, as well as a signed and numbered print, housed in a clamshell folder. This copy also with a copy of the standard edition of the only published volume of literary criticism in English on the Codex Seraphinianus, Confronting Serafini by Jordan Hunter (2017). Confronting Serafini is a 36 page saddle-stitched booklet bound with a treated page from the 2013 Rizzoli edition of the Codex, numbered 39 in an edition of 60.

Luigi Serafini
Milano: Franco Maria Ricci, 1981.

The first edition of the ever mysterious Codex Seraphinianus by Italian artist Luigi Serafini (1949-). Possibly an illustrated encyclopaedia of an alternate universe, Serafini has alluded that it is perhaps all just the thoughts of a cat passed through his hand. The Codex is written in an imaginary language and illustrated phantasmagorically throughout. This being the true first edition published in 2 volumes by Italian art publisher Franco Maria Ricci. This copy numbered 2295 and signed by Serafini to the colophon of volume 2, with the original trilingual letter from the editor laid in, together with a FMR catalogue, several photocopied Italian newspaper clippings related to the Codex, as well as the deluxe edition of the only published volume of literary criticism in English on the Codex Seraphinianus, Confronting Serafini by Jordan Hunter (2017), all housed in the original shipping cartons. Confronting Serafini is a 36 page book hand-bound with treated pages from the 2013 Rizzoli edition of the Codex, signed and numbered in a limited edition of 10, of which this is number 10.

Glynn Boyd Harte
London: Design For Today, 2020.

“This is a special facsimile edition of one of the most sought-after books of the 20th century. Glynn Boyd-Harte became one of the most in-demand, and certainly of the most talented, of the illustrators and artists who rose to prominence in the ’70s and ’80s. Originally published by Warren Editions, this is published in an edition of just 600 copies, silver blocked and bound in Ratchford cloth.” (publisher’s blurb)

Tokyo Illustrators Society
Tokyo: Tokyo Illustrators Society, 1989.

Catalogue for the first Tokyo Illustrators Society exhibition. Includes work by 73 Japanese artists including Akira Uno, Hajime Sorayama, Toshio Saeki, and many others, with accompanying short biography and portrait photograph. Includes list of artists with contact details. Rare, unrecorded in OCLC, 1 in CiNii.

Stanislaw Szukalski
San Francisco: Last Gasp, 2020.

Stanislaw Szukalski was a Polish sculptor, painter, draftsman and anthropologist. He was part of the Chicago Renaissance in the 1920s, enjoyed fame in 1930s Poland as a nationalistic sculptor, but spent his last years in obscurity. This book presents a major survey of his portraiture of peers, patrons, and historical figures. Most artworks are accompanied by essays and background information, along with personal anecdotes and reflection, providing an intimate and articulate discussion on art, politics, philosophy, and more. Szukalski is now remembered for both his striking artwork and political, scientific, and philosophical views, including the pseudoscientific-historical theory of Zermatism. In 2018 Szukalski became the subject of the critically acclaimed Netflix documentary ‘Struggle: The Life and Lost Art of Szukalski’ directed by Irek Dobrowolski and produced by Leonard DiCaprio. Introduction by Ernst Fuchs.

Tal R
[Zurich]: Nieves and innen, 2021.

“Garbage Man — could refer to Tal R himself as manic collector of what other people would perhaps refer to as refuse. Collecting and arranging of images is an integral component of his artistic practice and arises in its own manifestation from an inner necessity. The Yiddish word “Kolbojnik” (Waste, Remains) also runs through the work of the artist within the titling of many of his works. His collection, which can be found within the individual collages, consists of an eclectic mix of “primitive tribal art”, art history masterpieces, pornos, comics, private photos, childhood pictures, sketches and picture book illustrations, and was collected by Tal R over a period of 25 years. The works evoke in their pseudo-encyclopaedic phenomenon associations, Aby Warburg’s Mnemosyne Atlas, or, to refer to another artist, the Atlas by Gerhard Richter. Similar to him, the arranged pieces within the collages from Garbage Man served and serve the artist also as templates for paintings and sculptures.” (publisher’s blurb)