Capturing Nature is the ultimate guide to nature printing, a beautiful and invaluable reference work for scholars, artists, designers, botanists, and anyone interested in nature, botanical illustration, and printing.

Hailed as the earliest precursor to photography, nature printing is the practice of using impressions from the surface of natural objects such as leaves, flowering plants, ferns, seaweed, snakeskin, and more to produce an image. The Zucker Collection is the most extensive collection of nature prints ever assembled, with more than 13,000 images across 130 rare and seminal works from 1733 to 1902, including journals, published books, unique manuscripts, American currency, and instructional texts related to nature printing.

For the first time, readers will be able to view these nature prints presented side by side, enabling unique comparisons and undertaking a visually stunning journey through the developments over a 150-year period in printing methods including photography and examples of cyanotypes.

Edited by Matthew Zucker and Pia Östlund
With contributions by Harry Willis Fleming, Nicole Hanquart & Régine Fabri, Naomi Hume, Jessica C.
Linker, Adam Lowe, Pia Östlund, Harriet Rix and Michele Rodda
Published by Zucker Art Books, New York
Photography by Martin Slivka, London
Concept and design by Haller Brun, Amsterdam
Edition of 500 copies
352 pages plus a 7-page timeline-leporello
with 726 color images | paperback with
2 blind embossed nature prints |
9.22 × 13 × 1 inches, 232 × 330 × 28 mm
ISBN 978-0-979-03213-4

Digital animation with HD mini-projector in custom enclosure.
published by platypus editions, new york
Edition of 12
49-minute digital animation loop, comprised of 232 Truisms, running alphabetically in two rotations, with 32 unique animations. Powered by internal battery (1.5 hours) or AC current. Housed in a portable stormproof carrying case, with enclosure, numbered and signature stamped on the bottom.
Projection distance at 20 ft/ 6m Image Size 7ft/2m high and 10ft/3m wide. Letter Size: 1ft high
Enclosure: 8x5.5x9.5In. (20,3x14x9,5cm); Case:13x11.5x6In (34x29,5x15cm)

This is a fabric book of 26 pages, signed and numbered on the colophon. Louise Bourgeois was born in Paris in 1911. In 1919, her family moved to the Parisian suburb of Antony where the Bièvre River “cut across the garden in a straight line”. The river was key to their relocation as it was imperative to the family's business of tapestry restoration for the washing of the tapestries. In 2002, Bourgeois would distill her emotions and memories of the river and the garden in an important unique fabric book entitled ODE À LA BIÈVRE. In the book she reminisces through images and text, “With the soil from that river we planted geraniums, masses of peonies, and beds of asparagus …and honeysuckle that smelled so sweet in the rain.” Using her own garments as raw material to make sewn fabric collages, she evoked feelings and memories through lines, shapes and colors. Years later, Bourgeois was to go back to the house with her own family only to find the river to no longer exist, “only the trees that my father had planted along its edge remained as a witness”. This 2007 book faithfully reproduces that original fabric work. Each book is signed and numbered on the colophon and includes two signed photographs digitally printed on Verona paper and mounted on 300 gram watercolor paper with the respective titles: “The garden in Antony, 1921” and “The Bièvre River, 1951.” Housed in a blind embossed slip case each book is uniquely bound with hand dyed and distressed linen. This is copy #2/14 and was exhibited in 2013 in Zurich at the ETA.

Hand stamped and hand painted on Alabaster
Edition: 4 of 8 copies, each unique
Published by Platypus Edition - Matthew Zucker, New York

Hand sewn cotton leporello book, with screenprinting, in cloth box with colophon.
Published by Zucker Art Books, NY. Edition of 8 variants, with 2 AP.
Each copy is signed and numbered. This Copy #2/8

Each book is handmade from repurposed fabrics the artist found in Mexico City. Camil’s interventions include cutting shapes common in cloth making such as sleeves, collars, torsos, and recombining them in a colorful array, hand sewn into a double sided sequence. She designed small buttonholes in between the panels so the work can be hung as a banner as well, choosing either side. This sort of interaction between the work and the viewer is a key element throughout Camil’s oeuvre, which even includes works to be worn or walked on.

Pia Camil (b. 1980) lives and works in Mexico City. She has a BFA from the Rhode Island School of Design and an MFA from the Slade School of Fine Art, London. Her work has been exhibited internationally, with recent solo-exhibitions including A Pot for a Latch, New Museum, New York (2016); Skins, Contemporary Arts Center, Cincinnati (2015); The Little Dog Laughed, Blum & Poe, Los Angeles (2014); and Cuadrado Negro, Basque Museum Centre for Contemporary Art, Vitoria-Gasteiz, Spain (2013).