Studio Bruno Tonini

05/09/2026

Giorgio GRIFFA
“L’Isola Xiphos. Acqueforti di Giorgio Griffa”
Alessandria, I libri della luna nera, 1991

20x20 cm, japanese binding with cord thread, pp. [68], blue cover with an original intervention by the artist in gold and white pastel and contains 6 original etchings engraved on Indian paper applied to pages of Fabriano “rosaspina” paper. Limited edition of 22 numbered copies signed in pencil by the artist at the colophon. The text of the volume “L’île Xiphos” by Paul Valéry is part of the collection “Histories brisées,” published in the second volume of the “Oeuvres,” Bibliothèque de la Pléiade, Gallimard Editions, Paris.

available

04/09/2026

Edward RUSCHA
“Nine Swimming Pools and A Broken Glass”

Los Angeles, Edward Ruscha [G.R. Huttner Lithography],1968

17,7x14 cm, white printed wrappers with black titles in the fragile clear glassine protective overlay, pp. [64], title in black on a white background, title page titled in light blue on a white background, 10 photographic plates printed in offset in 4 colors (9 images of swimming pools and 1 of a broken glass). All other pages are blank. First book in which Ruscha uses color photography. First edition of 2.400 copies.

Bibliography: Siri Engberg - Clive Phillpot, “Edward Ruscha: Editions 1959-1999. Catalogue Raisonne”, Minneapolis-New York, Walker Art Center, 1999: volume II, B 8, pag. 124

Available

03/09/2026

Thomas STRUTH
“Thomas Struth”

Yamaguchi, Gallery Shimada, 1986

15,1x11,2 cm, Black-and-white illustrated invitation card, published on the occasion of the artist’s first solo exhibition in Japan (Yamaguchi, Gallery Shimada, April 9 – May 18, 1986).

# metaphotography

03/09/2026

Thomas STRUTH
“Thomas Struth. Beau Grenelle - Paris”
München, Rüdiger Schöttle, 1980

17,3x11,9 cm, invitation card illustrated with a photograph from the series Beau Grenelle, produced between 1979 and 1980. Printed on photographic paper and published on the occasion of the artist’s first solo exhibition at the gallery (Munich, Rüdiger Schöttle, October 2-31, 1980)

“Towards the end of 1979 Struth travelled to Paris to visit Thomas Schütte, a fellow student at the Kunstakademie Düsseldorf, who had a residency in Paris. Schütte suggested looking at the Beaugrenelle project in Paris, a huge urban development for mixed commercial and residential use with several distinctive high-rise towers built on the banks of the Seine in the 1970s. The group of photographs Struth made at Beaugrenelle in 1979 and 1980 was his first work based on contemporary urban structures and reflected his interest in architecture and urban planning. In a sober and melancholy way, he traces what has become of the utopian city plans of early modernism. On this occasion, Struth photographed for the first time in both black-and-white and colour. In 1980 Rüdiger Schöttle invited Struth to make an exhibition of the Beaugrenelle photographs at his gallery in Munich. The exhibition consisted of thirty-seven photographs, presented together with the architectural plan of the complex as well as the advertising brochures published by the developer. Struth recalls the exhibition as “quite a laconic presentation, perhaps a bit didactic but nonetheless not well understood.”

02/09/2026

New Catalogue: Daniel Buren

Daniel Buren’s work has radically questioned the relationship between art, architecture, and exhibition space since the 1960s.

In 1965–66 he adopted alternating white and colored vertical stripes, each 8.7 cm wide—the standard width of the stripes on commercially produced French awning fabric—as a visual tool. By using this neutral, repeatable motif, Buren shifted attention away from personal expression and toward the specific conditions in which a work is seen, developing what he calls “travail in situ”.

Over time, his visual language evolved from an extremely reduced, systematic graphic approach toward increasingly complex uses of color, rhythm, transparency, reflection, and architectural structure, while the 8.7 cm stripe remained a constant reference.

Printed matter has always played an important role in his practice: artists’ books, posters, invitations, catalogues, and other publications are not simply documentation, but extensions of his investigations into context, repetition, circulation, and display.



Passage, Macerata, Edizione Artestudio, 1972, 53,6x53,6 cm.
White cardboard slipcase containing 7 different volumes (entitled Passage I - VII) complessive illustrated with 200 offset lithographs, each volume include plates with different variations tone of a color. Artists’ book considered one of the most important Daniel Buren books. Edition of 110 unnumbered copies.

Passage, Macerata, Edizione Artestudio, 1972, 53,6x53,6 cm.
White cardboard slipcase containing 7 different volumes (entitled Passage I - VII) complessive illustrated with 200 offset lithographs, each volume include plates with different variations tone of a color. Artists’ book considered one of the most important Daniel Buren books. Edition of 110 unnumbered copies.

Position-Proposition, Düsseldorf, Konrad Fischer, 1969, 14x10,4 cm. Black and white illustrated announcement, published on the occasion of the first artist’s exhibition with the gallery (Düsseldorf, Konrad Fischer, September 30 - October 12, 1969).

Halifax, Paris, Daniel Buren, [printing: MULTIPLA, Paris], 1974, 11x16,5 cm., paper

01/09/2026

Rebecca HORN
“Rebecca Horn”
Baden, Staatliche Kunsthalle Baden, 1977

29,9x21 cm, softcover, pp. [34]; typographical cover, 16 black and white photographs. Texts by the artist and Rolf-Gunter Dienst. Catalog published on the occasion of the exhibition (Staatliche Kunsthalle Baden, 27 August - 2 October 1977). Exemplary with signature and dedication by the artist to Thomas Decke.

available

31/08/2026

Sol LEWITT

“Five structures”

New York, John Weber Gallery, 1976

13,8x13,8 cm., softcover, [8 Including loose-leaf double covers]; white cover and black title, artist book without text with 5 illustrations of geometric structures printed on full page, published on the occasion of the exhibition (New York, Hammarskjold Plaza Sculpture Garden, March 7 May 1976).

Bibliography: Maffei / De Donno 2009: pag. 66; Tonini - Maderuelo 2014: n. 37, illustrazione pag. 11

Available

30/08/2026

29/08/2026

Edward RUSCHA
“Real Estate Opportunities”
no place, Edward Ruscha, 1970

17,8x14 cm, paperback, pp. [48]
typographical cover, artists’ book illustrated with 25 black and white photographic images by the artist. First edition. of 4000 copies. ​

First published in 1970, Real Estate Opportunities is one of Edward Ruscha’s most understated and conceptually incisive artist’s books. The publication presents a sequence of photographic views of vacant lots and undeveloped parcels of land in Los Angeles, accompanied by brief captions identifying their locations. Stripped of conventional architectural or documentary interest, these anonymous sites become the subject of a detached visual inventory.

Ruscha transforms the real-estate listing—a familiar instrument of urban speculation and commercial exchange—into an impersonal conceptual catalogue. The repetition of similar photographs, the absence of human presence, and the matter-of-fact presentation of addresses and locations emphasize the gap between the physical reality of the city and the language of property and value.

As in several of his artist’s books of the 1960s and 1970s, Ruscha employs a deliberately neutral photographic style and an apparently banal subject to question traditional notions of artistic significance. Real Estate Opportunities occupies a pivotal position within his exploration of Los Angeles as both a physical landscape and a cultural construct, while also exemplifying the deadpan, serial, and anti-expressive strategies that made his books central to the development of Conceptual Art and artists’ publishing.

Bibliography: Siri Engberg - Clive Phillpot, “Edward Ruscha: Editions 1959-1999. Catalogue Raisonne”, Minneapolis-New York, Walker Art Center, 1999: volume II, B 12, pag. 125; Moeglin- Delcroix 2011: pag. 343

available