photobooks

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1- 80 0 -99 - b a u m a n
 photobooks

We are pleased to offer this selection of great photobooks. The

majority of these books are signed or inscribed by the
photographer and many of them have interesting associations
as well.

Political or personal, realistic or fantastic, satirical or sublime,

all of these photobooks transcend the barriers of language and
culture. They require only the ability to see, and the best of
them challenge us to see with the same open eyes, with the same
unflinching stare that brought the photographer to make each
photograph in the first place.

To view hundreds of other photobooks in our extensive

inventory, please visit www.baumanrarebooks.com.


 slim aarons

“Attractive People, Doing Attractive Things, In Attractive Places”

1. AARONS, Slim. A Wonderful Time: An Intimate Portrait of the Good Life. New York, 1974. Folio, original blue
cloth gilt, dust jacket. $1800.

First edition of this pictorial glimpse at “the first families of America,

photographed in their elegant homes and exclusive clubs.”

Aarons enlisted in the Army at the age of 18 and served as a combat

photographer in World War II, meeting some of the top photojournalists of
the time and earning a Purple Heart. After the war he moved to California
and began photographing celebrities. “After the violence he witnessed…Aarons
decided that the only beaches he wanted to invade in the future were ‘decorated
with beautiful girls tanning in a tranquil sun’—which are amply presented
here. Aarons imparts a nearly tactile quality to these razor-sharp images, and
every photograph, from the 1950s through the 1980s, is richly evocative of its
era” (Publisher’s Weekly). For A Wonderful Time, Aarons has put together the
best of his magazine work—some pictures never published before—“with a
narrative of his experiences and impressions while photographing American
aristocrats on their estates and at play at their favorite resorts.” Parr & Badger
II, 20. Fine condition.


 hans aarsman

“The Sheer Beauty Of The Light”

2. AARSMAN, Hans. Hollandse Taferelen [Dutch Tableaux]. Amsterdam, 1989. Oblong quarto, original
gray cloth, mounted cover photographic plate, dust jacket. $1800.

First edition of Aarsman’s acclaimed photobook, with 36 color and six black-and-white plates that affirm his unique
and “finely tuned picture-making sensibilities” (Parr & Badger).

“Dutch photographer Hans Aarsman has frequently expressed a distaste for ‘arty’ photographs, while acknowledging
that the camera has an inherent propensity for beautifying the most mundane object or scene.” In Hollandse
Taferelen, Aarsman’s “finely tuned picture-making sensibilities… [create] an exposé of the forces shaping the Dutch
environment—creeping industrialization, the motor vehicle—and an homage to the 17th-century landscape
painters, who invented the genre of modern landscape painting. Aarsman replaces the bucolic optimism of the
paintings with a sardonic pessimism, keeping the irony tuned up and any other signs of self-expression toned down.
Sometimes, however—probably to his annoyance—he cannot help but succumb to the sheer beauty of the light”
(Parr & Badger II:69). Text in Dutch. First edition, issued in cloth only. A fine copy.


 berenice abbott

“A Distinctive Interpretation As Well As A Priceless Document”

3. ABBOTT, Berenice. Changing New York. New York, 1939. Quarto, original blue cloth. $1500.

First edition of Abbott’s landmark photo-essay on New York City, from waterfronts to storefronts, with 97 halftone
plates.

Abbott spent the better part of the 1920s in Paris photographing such literary celebrities as James Joyce, Jean Cocteau, and
Andre Gide. A chance encounter with the work of neglected master Eugene Atget inspired her to return to New York “to
do in Manhattan what Atget did in Paris.” She captured the city “with a straightforward style that nodded toward 19th-
century classicism while signaling a new sort of stripped-down modernism” (Roth, 100). “A distinctive interpretation of
New York as well as a priceless document thereof” (Icons of Photography, 104). Without scarce original dust jacket. Open
Book, 130-31. Trace of bookplate removal on front free endpaper. Slight spotting and foxing to preliminaries and final
leaves; a few small closed tears; light abrasions to cloth. An extremely good copy of this classic work.


 ansel adams

“The Revelation Of The Beauty Of Wide Horizons And The Tender Perfection Of Detail”
4. ADAMS, Ansel. Sierra Nevada: The John Muir Trail. Berkeley, 1938. Folio, original white cloth. $9800.

Signed limited first edition, number 452 of only 500 copies printed, signed by Adams on the limitation page, with 50
mounted photographs including “Half Dome.”

One of the earliest and most desirable works by Ansel Adams, this series of images primarily depict locations in Kings
River Canyon. For this book Adams “employed everything he had learned about fine printing… He proved such a stickler
that the book was delayed seven months to allow for the reprinting of those images that were not of the quality he sought.
All fifty photographic plates were tipped into each copy” (Alinder). Included is “Half Dome,” considered by many to be his
first masterpiece and “one of Adams’ most famous mountain subjects”
(New York Times). Franklin Roosevelt, who battled to have King’s
Canyon made a national park during this period, was presented a copy.
Each separately mounted photograph measures nine by seven inches.
Without extremely scarce dust jacket. Text and photographs fine,
original white cloth lightly soiled, spine with expert restoration. An
extremely good copy.


 ansel adams

“Adams Pictured Taos Pueblo As If It Were A Mountain Range,

Immutable And Ageless” (Alinder)
5. ADAMS, Ansel and AUSTIN, Mary. Taos Pueblo. Boston, 1977. Tall folio, original half tan calf, orange cloth
boards, marbled endpapers, original matching slipcase.  $3100.

Signed limited edition, number 227 of 950 copies signed by Adams. A fine reprint of the very rare original 1930 edition,
with 12 finely screened duotones by Ansel Adams and woodcut motifs by Valenti Angelo.

When Taos Pueblo, Adams’ first book, was published in 1930, he was 28 and had only recently decided to pursue photography
full time. “The twelve photos in Taos Pueblo… include several formal portraits reminiscent of Edward Curtis and neatly
circumscribed, almost intimate landscapes… The best of them are architectural studies that draw upon what Austin calls,
‘the deep-rooted, grown-from-the-soil look of Pueblo buildings’ to explore
a proto-modernist softened geometry that reconciles nature and the built
environment. The book’s solid success at the height of the Depression (all
108 copies sold over two years at $75 a piece) encouraged Adams to continue
in his course as a photographer of the American landscape” (Roth, 58).
This limited edition is a faithful reproduction of that rare landmark. See
Open Book, 88-89. Discrete stamp of ownership. Fine condition.


 robert adams

“The Most Literate And Eloquent Photographer Of Our Time”

6. ADAMS, Robert. What We Bought: The New World. Scenes from the Denver Metropolitan Area 1970-1974.
Hannover, Germany, 1995. Oblong quarto, original burgundy cloth, dust jacket. $1500.

First edition, signed by Adams on the title page, with 193 duotone photographic plates.

“Robert Adams is preeminent among the many photographers who

have concerned themselves with the urban development of the once-
wild lands of the American West. He began to photograph on the
Colorado high plains in 1965, and the subjects of his broad body of
work have included the spreading of tract houses along the Rockies;
strip malls, parking lots, freeways, cheap motels and garishly lit discount
houses; abused land and brutalized animals; the defunct orange estates
of outer Los Angeles; the ruined forests of coastal Oregon, and the adult
and child citizens of the New West as he finds them, often enough,
marooned in bleak trailer parks or graceless rooms” (Leo Rubinfien).
“The most literate and eloquent photographer of our time… [Adams
refuses] to accept a simplistic view of the West as either a pristine,
prelapsarian collection of natural wonders… or as land ripe for
unlimited economic development” (New York Times). Text in
English and German. Open Book, 364. An exceptionally fine
copy, scarce signed.

 james allen

“The Murder Of American Citizens By Their Fellow Americans”

7. ALLEN, James et al. Without Sanctuary. Lynching Photography in America. Santa Fe, 2000. Quarto, original
maroon cloth, dust jacket, slipcase.  $3500.

Special limited first edition, number eight of only 30 copies, signed by collector James Allen and critic/gallery owner
Andrew Roth on the title page, with 100 black-and-white and tinted photographs and postcards collected in this profound
and “shattering book on lynching in the United States” (Parr & Badger II).

For over a decade, James Allen of Georgia collected postcards and photographs of lynching in America “from witnesses,
or their relatives and close descendants… These shameful but telling images of a recent episode in the United States’ past…
[provide a] careful, scholarly presentation of the material.” They document
that “these horrible events were not only photographed, but that the resultant
images were published as postcards and hoarded as morbid souvenirs. Most of
the photographers who made them were not dispassionately documenting,
but celebrating and ritualizing the murder of American citizens by their fellow
Americans” (Parr & Badger II:230). With essays by New Yorker writer Hilton
Als, Georgia congressman John Lewis, historian Leon Litwack and Georgia
collector James Allen. A fine copy.

10
 nobuyoshi araki

“Arguably The Most Famous, And Often Controversial,

Contemporary Japanese Photographer”
8. ARAKI, Nobuyoshi. Tokyo Elegy. Tokyo, 1981. Small quarto, original paper wrappers, dust jacket, obi. $1800.

First edition of Araki’s influential photobook of the streets of Tokyo and Japanese female nudes, with more than 240 pages
of color and black-and-white photogravures.

Araki’s “highly personal approach underlined his aversion to the shallow and
sham character of fashion photography, as well as his notion that the
photographer’s role was to expose areas heretofore censored and considered
shameful in Japan… On several occasions, police raided and closed Araki’s
exhibitions, confiscated works, and arrested the photographer and his assistants
for violation of obscenity laws. And yet Araki’s portrayal of censored subject
matter has contributed to a loosening of the strictures imposed on
photographers… [His photographs of nudes] underline his country’s history of
construction, growth, destruction, metamorphosis, decay, and rebirth” (Tucker
et al, 334). Despite, or because of, the controversy surrounding Araki, “he
remains a crucially important maker of books, with an influence extending far
beyond Japan” (Parr & Badger 1, 271). Text in Japanese. A fine copy with the
rarely seen obi.

11
 thomas annan and james craig

“The Earliest Comprehensive Series of Photographs Of An Urban Slum”

9. ANNAN, Thomas and James Craig. The Old Closes & Streets of Glasgow. Glasgow, 1900. Folio,
original beveled rose cloth, gilt-stamped with arms of Glasgow. $17,000.

First acquirable edition of Annan’s landmark photographic documentation of Glasgow slum areas, with 50
warm brown photogravures from wet-collodion negatives. This is one of only 100 copies specially printed for
the Corporation of Glasgow (Truthful Lens 4).

Glasgow in the mid-1800s was suffering from the largest population boom in its history, with the demand
for housing unprecedented. The maze of dwellings in which the poor were crammed were known as the
“Closes and Wynds of Glasgow,” and as early as 1844 Frederick Engels had commented, “I have seen human
degradation in some of its worst phases, both in England and abroad, but I can advisedly say, that I did not

12
believe, until I visited the wynds of Glasgow, that so large an amount of filth, crime, misery and disease
existed in one spot in any civilised country.” In 1866, Glasgow passed an act to destroy the slums of the City
Parish and commissioned Thomas Annan, one of the leading photographic artists in Scotland, to document
the area before it was demolished. Although Annan was neither a social reformer nor an investigator, he
did “provide us with another kind of record: the earliest comprehensive series of photographs of an urban
slum—the very slum which was considered to be the worst in Britain” (Glasgow University Library).

The conditions under which Annan took his photographs were daunting. “The closes were dark and narrow,
requiring him to use the sensitive wet collodion process in order to create negatives of sufficient quality
despite low light level conditions. The procedure to create even one negative was time and labor intensive,
requiring careful preparation and execution. This meant carrying all the chemicals and materials necessary
through the wynds, setting up a large camera on uneven ground, and coating the photographic plates on
the spot to produce the negatives…Thirty to thirty-five photographs were taken in the three year period
between 1868 and 1871…These prints are undeniably comparable in beauty to his best landscape pieces. In
some the sky is visible allowing the full gutters to mark lines of reflected light into the distance; in others
the hanging washing blocks out the light contributing to the sense of claustrophobia. The low angle of most
shots emphasize the oppressive, grim nature of these dead end streets. In many cases the photographs seem
to be more about the details—the flapping work clothes hung out to dry or a single gas lamp on a long
street—than about the buildings he was paid to photograph” (Glasgow University Library).

Two extraordinarily rare editions were produced of the work in Annan’s lifetime, one in 1872 and another
in 1877. In 1900, Thomas Annan’s son, James Craig, made photogravure prints after the 38 photographs his
father made, and added a dozen photographs that he had taken himself between 1885 and 1889. This
expanded work varies in several ways from his father’s earlier albumen and carbon prints: “The photogravures
are lighter in tone, and consequently in mood, in the sense of the place, than Annan’s carbon prints. Moving
figures, those ghosts who would not stand still for the photographer, are completely excised in the
photogravure edition” (Mozley, Thomas Annan, xii). Two issues were published in 1900, each of 100 copies;
the present issue in rose cloth with the Glasgow city arms in gilt, and the other in blue cloth, published by
T. & R. Annan & Sons. Grolier, Truthful Lens 4. See Frizot, 348. Faint evidence of owner signature. Interior
and photographs fine, with only slightest foxing to uncut edges. Spine lightly sunned. A splendid copy, in
near-fine condition.

13
 diane arbus

“A Beautiful, Sad, Moving Testament To The Human Condition”

10. ARBUS, Diane. Diane Arbus. Millerton, 1972. Tall quarto, original cream laminated photographic boards, dust
jacket.  $3800.

First edition of this posthumous retrospective of 80 Arbus images, “at once

pitiless and engaged, tough and surprisingly tender… with the power to
provoke and disturb” (Roth).

In her photographs, Arbus portrays a “gallery of alienated characters [that]

presents a parody of the American way of life, in a corrosive contrast to the
optimistic advertising campaigns of the time” (Introduction). “Her pictures
challenge the basic assumptions on which most so-called documentary
photography has been assumed to rest. They are concerned with private rather
than social realities, with psychological rather than visual coherence, with the
prototypical and mythical rather than the topical and temporal. Her real
subject is no less than the unique interior lives of those she photographed”
(John Szarkowski). “A beautiful, sad, moving testament to the human
condition” (Parr & Badger, 258). Roth, 214. Open Book, 284. Owner gift
inscription. Images fine. One small spot to foot of spine, dust jacket slightly
soiled with chipping to top edge of rear panel. Near-fine condition.

14
 richard avedon

“I Hate Cameras. They Interfere, They’re Always In The Way.

I Wish: If I Could Work With My Eyes Alone”
11. AVEDON, Richard. Observations… Comments by Truman Capote. New York, 1959. Folio, original white paper
boards, acetate wrapper, slipcase. $5200.

First edition, presentation copy, of Avedon’s series of portraits of some of the most
famous people of the 20th century, boldly inscribed across a whole page by Avedon
to fellow photographer Victor Keppler: “For Victor. Avedon.”

“Observations is the culmination of a creative collaboration between Avedon and

Alexey Brodovitch that began in 1945, when the imperial art director hired the 22-
year-old photographer as the youngest member of his team at Harper’s Bazaar”
(Roth, 148-49). Truman Capote contributed commentary to this work, which
includes photographs of Frank Lloyd Wright, Pablo Picasso, J. Robert Oppenheimer
and Mae West. Later, Avedon accompanied Capote to Kansas as he was researching
In Cold Blood. Open Book, 174-75. Victor Keppler pioneered the use of color
photographs in commercial photography in the 1930s, and authored a number of
influential books on the art of photography. Photographs bright and clean, book
fine. Acetate with several chips, slipcase lightly toned with some rubbing.

15
 richard avedon

“All Photographs Are Accurate. None Of Them Is Truth”

12. AVEDON, Richard. Avedon: Photographs 1947-1977. New York, 1978. Folio, original laminated photographic
boards, acetate dust jacket. $1850.

First edition of Avedon’s retrospective of his landmark fashion work, with 162 black-and-white photographic plates, boldly
inscribed by the celebrated photographer on the recto and verso of the front free endpaper, “For Alison Lurie and looking
forward, Richard Avedon.”

This stunning collection of Avedon’s early work illustrate his belief that
“‘all photographs are accurate. None of them is truth’… Avedon
revolutionized the 20th-century art of fashion photography, imbuing it
with touches of both gritty realism and outrageous fantasy and instilling it
with a relentlessly experimental drive” (New York Times). Included are
photographs of Brigitte Bardot, Audrey Hepburn, Katherine Hepburn,
Sophia Loren, Bette Midler, Marilyn Monroe and Elizabeth Taylor. This
copy inscribed to author Alison Lurie, winner of the 1984 Pulitzer Prize for
her novel Foreign Affairs, who reviewed the work (and the companion
exhibition at the Metropolitan Museum) upon its publication for the New
York Review of Books: “The book is superbly produced, and its juxtapositions
of striking images from different periods well demonstrate Avedon’s range,
wit and technical brilliance…” An about-fine copy with slight toning to
verso of front free endpaper, inscription a bit faint. Original acetate dust
jacket price-clipped with small closed tear to spine head.
16
 richard avedon

“Stark And Penetrating”

13. AVEDON, Richard. Portraits. New York, 1976. Quarto, original
gray cloth, dust jacket. $1800.

First edition of this beautiful collection of black-and-white portraits

(including four folding), boldly inscribed, “Avedon 1995.”

Although Avedon initially achieved fame as a fashion photographer, “it is

his portraits, stark and penetrating, which have won the greatest acclaim
among collectors” (Blodgett, 102). This collection includes a number of his
most famous portraits, including those of Truman Capote, Andy Warhol,
the Chicago Seven, Gabriel García-Márquez, and many others. An about-
fine copy with slight toning to edges of leaves and
dust jacket; minor soiling to dust jacket.

17
 richard avedon

“I Haven’t Lived Chronologically. No One Does”

14. AVEDON, Richard. An Autobiography. New York, 1993.
Folio, original brown cloth, photographic self-portrait mounted on
rear panel, acetate wrapper, publisher’s shipping box. $2200.

First trade edition of this classic Avedon work, with over 280 full-page
plates in black and white, boldly signed by Avedon in the year of
publication.

A beautiful retrospective of Avedon’s life and art. “In this…loose

record of faces, moments and events that have shaped his life, eminent
photographer Avedon excels in brutally frontal, stark black-and-white
portraits that strip away pretensions and personas. Ezra Pound,
Marilyn Monroe, Louis Armstrong, Rudolf Nureyev, Dorothy Parker,
Janis Joplin… are among the luminaries indelibly captured…a
haunting portrait of our age” (Publishers Weekly). Fine condition.

18
 richard avedon

“Rather Than Seeking A Romantic Myth He Looked For Ordinary People

Who Had Struggled To Make A Living”
15. AVEDON, Richard. In the American West, 1979-1984. New York, 1985. Folio, original tan cloth, mounted
photographic cover illustrations. $3500.

First edition of Avedon’s portrait book of western workers and drifters, his most controversial photobook, with over 100
stunning full-page black-and-white portraits. Boldly inscribed in the year of publication to Paul Gottlieb, the innovative
editor-in-chief of Abrams, “To Paul, with gratitude, Dick Avedon, ’85.” “Amongst the most powerful” of Avedon’s
photographs (Parr & Badger II).

In a photobook that reaffirmed “everything Avedon did was transformed and

stamped with his own genius,” In the American West emerged from the
photographer’s extensive travels across the West, “giving us his personal view of the
frontier spirit, which meant puncturing a few myths and constructing some new
ones… The haunting portraits in this book are amongst the most powerful that
even Avedon has made’ (Parr & Badger II:38). In the American West was
commissioned by the Amon Carter Museum in Fort Worth, Texas after its director,
Mitchell Wilder, saw Avedon’s photograph of Wilbur Powell, ranch foreman in
Montana (the last image in this book). Avedon’s warm inscription is to Paul Gottlieb,
the legendary editor-in-chief at Abrams for over two decades, whose innovative
leadership made Abrams “the dominant art book publisher in the United States”
during his tenure (New York Times). Gottlieb, who died in 2002, was also an
executive director of Aperture; this copy from his personal library. See Roth 148;
Icons of Photography, 148. A fine inscribed copy with a memorable association.

19
 lewis baltz

“Desolation So Complete It Was Almost Elegant”

16. BALTZ, Lewis. The New Industrial Parks Near Irvine, California. (New York, 1974). Large square quarto, original
gray cloth, original photographic dust jacket.  $3800.

First edition of Baltz’s first book, the inaugural highlight of the New Topographics movement, with 51 black-and-white
photogravure plates.

The same year Lewis Baltz published New Industrial Parks, his
groundbreaking first photobook, he was prominently featured “in a
landmark exhibition at the International Museum of Photography at
George Eastman House called New Topographics.” This first of a
trilogy completed by Park City (1980) and San Quentin Point (1986),
New Industrial Parks was immediately praised for its images of a
landscape suffused with a “desolation so complete it was almost
elegant” (Roth, 228). Baltz’s exemplary project “transcends itself,
registering a magnified intensity that turns objectivity into an
impersonal subjectivity” (Parr & Badger II:34). Scarce first edition,
one of 960 copies, the complete edition, printed by Leo Castelli,
whose gallery gave Baltz his first solo show in 1971. Open Book, 298.
Book fine, light toning as usual to about-fine dust jacket.

20
 lothar baumgarten

“A Poetic Archeology Of Industrial Forms In The American Landscape”

17. BAUMGARTEN, Lothar. Carbon. Los Angeles, 1991. Tall, oblong quarto, original dark gray cloth,
dust jacket.  $1800.

Signed limited edition, one of 1750 copies, signed by Baumgarten, with 118 large full-page halftones of railways. With
signed pamphlet of short stories in rear pocket.

“The German artist Baumgarten here turns his attention from the native peoples he has celebrated in earlier work to
industrial America, symbolized by the railroad. In large black-and-white
photographs that recall the work of Robert Adams and Lewis Baltz,
Baumgarten undertakes a sort of poetic archeology of industrial forms in
the American landscape” (New York Times). “Baumgarten uses black-and-
white photographs and fictional, often mythic texts to celebrate the complex
geographic, cultural, and natural histories enshrined in the railroad lines
of the American West” (Roth, 28). Many of the photographs are
superimposed with the upside down names of Native American
communities that the railroads uprooted. Published to
commemorate the exhibition held at the Museum of
Contemporary Art, Los Angeles, April 8-June 17, 1990.
Accompanied by a pamphlet containing short stories by
Lothar Baumgarten and Michael Oppitz (in pocket), also
signed by Baumgarten. Roth, 268-71. Fine condition.

21
 bernd and hilla becher

“The Seeds Of European Photography’s Future”

18. BECHER, Bernd and Hilla. Anonyme Skulpturen. Dusseldorf, 1970. Quarto, original cloth, dust jacket. $8800.

First edition of the Bechers’ first major book, “a meditation on identity and difference” (Roth) echoed in both design and
subject—technical buildings chosen for their very anonymity—with 194 black-and-white photogravure plates.

The German husband-and-wife team of Bernd and Hilla Becher have spent 40
years documenting the relics of the receding industrial age, classifying these
near-obsolete structures according to function: lime kilns, cooling towers, blast
furnaces, winding towers, water towers, gas holders, silos. In this, their
groundbreaking first book, the Bechers established the disciplined approach
they would follow throughout their career: objective, centered views made with
large-format cameras and finely grained black-and-white film, working under
overcast skies early in the morning during spring and fall only to insure a diffuse
light with minimal shadows. “The seeds of European photography’s future were
being sown… in a book called Anonyme Skulpturen (Anonymous Sculptures)…
The Bechers looked forward to a new integration between the traditional arts
and photography” (Parr & Badger, 193). Text in German, English, and French;
photogravures printed on coated stock. Open Book, 258. Book fine; lightest
edge-wear to near-fine photographic dust jacket. Rare.

22
 israel bidermanas

“Profound, Moving And Extraordinary”

19. (BIDERMANAS, Israel [aka Izis] and CHAGALL, Marc). PRÉVERT, Jacques. Le Cirque d’Izis. Monte Carlo, 1965.
Folio, original red cloth, pictorial dust jacket by Chagall, printed acetate wrapper. $1700.

First edition of this ingenious collaboration between poet, painter and

photographer, with 76 stunning héliogravures of life in the circus by Bidermanas
and four original color lithographs by Chagall.

Paris Match photographer Israel “Izis” Bidermanas “was a great dreamer and a
wanderer both of the streets and in his mind. He believed in photographs that
seemed simple, but were in fact full of ambience, a ‘poetic realism’ that was
much in vogue. His vision was gentle and warm without being sentimental”
(New York Times). Le Cirque d’Izis is a collection of 76 Izis photographs in
splendid héliogravure of French circuses, each accompanied by one of Prévert’s
poems, and further enhanced by four magnificent circus prints and dust jacket
design by another of his friends, Marc Chagall. “The sense of Existential isolation
[of circus performers from the rest of society] is handled with sensitivity and
empathy by Izis, who makes what might be just another hackneyed view of a
popularly exotic subject into something profound, moving and extraordinary”
(Parr & Badger I:222). Text in French. A lovely copy in fine condition, with only
one small tape repair to margin of scarce original acetate wrapper.

23
 werner bischof

“An Exceptional Photographic Witness Of His Time”

20. BISCHOF, Werner. 24 Photos. Bern, 1946. Quarto, 23 original plates (measuring 9 by 12 inches), loose as issued,
original text booklet, original half cream cloth portfolio with mounted original photographic print, cloth ties. $2200.

First edition of Bischof’s premiere work, a scarce original portfolio with 24 black-and-white photographic plates, 23 loose
and one mounted, as issued, to front cover, with four-page booklet containing an essay by noted critic Manuel Gasser.

“The renowned Swiss photojournalist Werner Bischof lived a mere 38 years—a

short, intense life during which the young Magnum photographer documented
postwar reconstruction in Germany and Japan, famine in India and wars in both
French Indo-China and Korea” (Robert McFarlane). “Bischof came to age in the
shadow of the Second World War…Although he wasn’t directly affected by the
war, many of [his] most compelling images date from a tour of Germany he
made shortly after its end. Traveling in a car with a makeshift darkroom in the
back seat, Bischof photographed Hungarian war orphans gazing blankly from a
train, children playing in the bombed-out ruins of cities, even the skeletal
remains of the Reichstag poking out of the smoldering ruins of Berlin…Soon
after that trip, Bischof left the safety of Switzerland to begin photographing the
world” (Peter Ritter). He “won renown as an exceptional photographic witness of
his time” (New York Times). Scarce first portfolio collection of Bischof’s early
work, containing 23 original black-and-white plates loose within, and the original
24th plate, “Abstraktion,” mounted on the front cover, as issued. Text in German.
See Parr & Badger II: 235-6. Plates clean and bright; light soiling, faint rubbing
to near-fine original portfolio, scarce.
24
 karl blossfeldt

A “Revolutionary Way Of Seeing”

21. BLOSSFELDT, Karl. Wundergarten der Natur. Berlin, 1932. Folio, original blue cloth, dust jacket. $4200.

First edition of the second photobook in Blossfeldt’s pivotal trilogy, with 120 extraordinary full-page photogravures of
plants, “objects of unexpected aesthetic delight.”

In 1932 Blossfeldt followed his immensely popular Urformen der Kunst (1928)
with this equally influential photobook, Wundergarten der Natur (Magic Garden
of Nature), and would complete his trilogy in 1942 with Wunder in der Natur. The
images of Wundergarten der Natur possess a “duality of vision that is both striking
and beguiling… We might be looking not at plant details but directly at
architectural decorative elements… carved in wood or cast in metal” (Parr &
Badger, 96). This “revolutionary way of seeing” placed Blossfeldt at the cornerstone
of the New Objectivity movement, for Blossfeldt was precise in his sensitivity “to
the curvilinear beauty of plants and used organic structures as the basis for his
technological designs. To young German artists, his photographic studies proved
the convergence of nature and art” (Roth, 10, 15). Text in German. Open Book,
106. See Roth, 48. Bookplate, bookseller ticket. Images quite clean and bright;
book near-fine, only slight foxing to edges without affecting plates; expert
restoration to dust jacket. Scarce.

25
 christian boltanski

“A Record Of An Individual Life”

22. BOLTANSKI, Christian. Inventaire des Objets Ayant Appartenu a une Femme de Bois-Colombes. Paris, 1974.
Thin small octavo, original beige paper wrappers.  $3800.

First edition of Boltanski’s influential photobook, “a record of an individual life,” with 295 black-and-white photographs.

Boltanski was born in Paris in 1944 to a Corsican mother and a Jewish father, and during the Nazi occupation the family
hid his father beneath the floorboards of the family home. Much of his work invokes the Holocaust and is centered on the
concepts of memory and loss, and he often uses “photographs as a memorializing agent, to make a record of an individual
life” (Parr & Badger II, 136). The title translates to Inventory of Objects Which Belonged to a Woman of Bois-Colombes (a
suburb of Paris), and it is one of a series of books, for each of which he selected a person at random and then photographed
all of their worldly goods. This is a “record of a life defined by personal possessions… a biography… Boltanski details the
possessions of an anonymous life, and beyond the artistic its aim is essentially social, even sociopolitical… the result is
impersonal and objective, and yet intensely moving” (Parr & Badger II, 155). Fine condition.

26
 édouard boubat

“These Are Images Which Have Something To Say, And Which Say It Successfully”
23. BOUBAT, Édouard. Ode Maritime. Tokyo, 1957. Slim quarto, original photographic French wraps over stiff paper
boards. $2200.

First edition of this scarce first photobook by Boubat, printed in Tokyo, the earliest appearance in book form of timeless
photographs by this “marvelous photographer and a photographer of the marvelous” (Le Monde), with 45 images, including
five in color, text in French and Japanese.

Boubat began his impressive career in the late 1940s, traveling the world for the French
magazine Réalités. When his photographs, along with those of Doisneau, Brassai and
others, were shown at “the Photo League in New York, they drew an enthusiastic
response from the New York Times critic: ‘Their French origin is unmistakable,
marked by a subtlety, tolerance and understanding… these are images which have
something to say, and which say it successfully’… Boubat possessed, to the highest
level, that great skill—the art of meeting people” (Frizot, 624-6). In Ode Maritime,
this very scarce first photobook by Boubat, that talent and vision, which would make
him “one of France’s most celebrated postwar photographers,” is visible in these
evocative images of life in a Portuguese fishing village (New York Times). First edition,
published in Japan, with text in French and Japanese. With commentary by critic
Bernard George and essay by Boubat. A fine copy.

27
 édouard boubat
“A Photographer Of The Marvelous”
24. BOUBAT, Édouard. La Survivance [Survival]. Paris, 1976. Folio, original beige cloth, dust jacket. $3500.

First edition of Boubat’s first major book, which won the book prize at the Arles festival in 1977; an especially memorable
association copy, inscribed on the half title by Boubat to his close friend of 24 years, award-winning photojournalist Peter
Turnley, “Pour l’ami Peter, avec Paris, la lumière, La Tartine, le 18 novembre 1998, Édouard Boubat” (For my friend
Peter, with Paris, the light, La Tartine. Illustrated with 62 full-page heliogravures
(many double-page), with scarce original dust jacket.

“One of France’s most celebrated postwar photographers,” Édouard Boubat (1923-99),

along with stellar figures such as Cartier-Bresson, Robert Doisneau, Marc Riboud and
Willy Ronis, came to define French humanist photography, a perspective identified by
its “lyric mode… a vision of the world that is singularly moving” (New York Times).
Critic Michel Guerrin praised him as “a photographer of the marvelous… His rich and
complex body of work was dominated by three elements: autobiography, poetry and
mystery” (Le Monde). This scarce first edition warmly inscribed by Boubat to acclaimed
photojournalist Peter Turnley, who was befriended by Boubat
shortly after moving to Paris from America, “a friendship
that would grow for the next 24 years,” the two photographers
meeting at least once a week for wine “and warm conversation
at the old wine bar La Tartine, on the rue de Rivoli”—the
same café mentioned here in Boubat’s inscription (Digital
Journalist). Text in French. Signed by Turnley. An exceptional
association copy in fine condition.
28
 rené burri

“One Of The Best Photobooks Of The 1960s”

25. BURRI, René. Les Allemands [The Germans]. Paris, 1963. Quarto, original black paper-covered boards. $3500.

First French edition of Burri’s classic work, signed by Burri on the half title, from the collection of noted photojournalist
Peter Turnley, with 80 finely screened photogravure plates.

A highlight of French publisher Robert Delpire’s renowned series Encyclopédie essentialle, which featured Robert Frank’s
Les Américains, René Burri’s Les Allemands (The Germans) is acclaimed as “one of the best photobooks of the 1960s…
Burri’s pictures are sharp and incisive, occupying an interesting middle
ground between the controlled framing of the classic photojournalistic
mode and the casual looseness of Frank… [Primarily] Burri is a
documentary photographer, a photojournalist. He is both a responsible
journalist and an extremely talented photographer” whose chronicle of
postwar Germany makes Les Allemands a striking model of the “classic
genre of European photojournalism” (Parr & Badger I:218, 190). A scarce
association copy, signed by René Burri, from the collection of Paris-based
photojournalist Peter Turnley, who has chronicled “almost every
important international news event of the last 15 years” for Newsweek and
Harper’s Magazine (New York Times). This more highly desired first
French edition is preceded one year by the German edition Die Deutschen.
With text in French by Jean Baudrillard. A scarce association copy in fine
condition.

29
 bill brandt

“The Samuel Beckett Of Photographers”

26. BRANDT, Bill. A Night in London. London, 1938. Quarto,
original stiff photographic wrappers. $10,500.

First edition in wrappers of Brandt’s renowned photobook, with 64

evocative black-and-white half-tone photographic plates of 1930s London
at night, celebrating “the beauty of ordinary moments.”

A “marvelous chronicler of London streets… Brandt is perhaps Britain’s

most famous 20th-century photographer… Photography, for Brandt, was
all about capturing the details on the edge of life that we otherwise
wouldn’t see. Like Henri Cartier-Bresson, he wanted to celebrate the
beauty of ordinary moments” (New York Times). To Cecil Beaton, Brandt
was “the Samuel Beckett of photographers. Gaunt, direct, stark, his work
is always one step ahead” (Roth, 160). Introduction by James Bones;
captions in English and French. First edition in wrappers, preceded same
year by the very scarce issue in boards. Owner signature. Images bright
and fine; some edge-wear and light soiling to fragile unrestored wrappers.
A highly desirable, extremely good copy of a landmark photobook.

30
 brassaï

Brassaï’s Scarce First Photobook: “Parisian Night Life’s Seamier Side”

27. BRASSAÏ. Voluptés de Paris [Pleasures of Paris]. Paris, circa 1934. Quarto, original stiff orange wrappers, spiral-
bound; custom clamshell box. $4200.

Second edition of Brassaï’s first photobook, among the rarest of his early
works, the first to credit Brassaï (unnamed in the earlier edition) as the
photographer of these 38 provocative images of Paris night life, extremely
scarce in original wrappers.

When Brassaï “contracted with an underwear manufacturer called Vidal to

publish a book called Intimate Paris, with a text by Pierre MacOrlan, as a
companion volume to Paris by Night, Vidal apparently prevaricated, then
brought out the 48-page Voluptés de Paris in 1932… Contractual disagreements
meant that Brassaï never acknowledged” that initial edition, in which his work
was not credited. Paris de nuit, the subsequent 1933 photobook “that actually
made his reputation, is relatively chaste by comparison” to Voluptés de Paris
(Parr & Badger I:315, 134). Many of these images would not appear in book
form again until the 1976 Secret Paris of the ‘30s. See Open Book, 110. Images
bright and fresh, two spirals missing from binding, light soiling, small mark
on lower edge of rear wrapper. An exceptional photographic classic, near-fine,
rarely found in original wrappers.

31
 brassaï

“When You Meet The Man You See At Once That He Is Equipped With No Ordinary
Eyes” (Henry Miller)
28. (BRASSAÏ). MORAND, Paul. Paris de Nuit. Paris, 1933. Quarto, original spiral bound photographic
wrappers. $16,000.

First edition of Brassaï’s first book and acclaimed masterpiece, an exceptional copy inscribed by the photographer on the
first page of text, “À Jacqueline, cette bete noire en souvenir amical, de Brassaï,
Paris 956” (To Jacqueline, this dark beast of fond memory), with 64 rich full-page
photogravures capturing Brassaï’s unforgettable “social fantastic” vision of Paris
(Roth, 12).

“Paris de Nuit combines the luxe and the louche… Its graphic design is sophisticated
and its photogravure reproductions so rich that the sooty blacks still look like
they’ll rub off the page. Paul Morand, novelist, diplomat, and, later, persona non
grata for his collaboration with the Vichy government, gets the cover’s most
prominent credit for his essay here, but Brassaï’s photos are the book’s real meat…
Brassaï became a master at drawing luminosity from the darkness… [This work
has] lost none of its dark glamour or film noir grit” (Roth, 76). “The
book created a sensation when it was published; many pictures
from the series were deemed too risqué and were not exhibited or
published for decades” (McDarrah, 55). First edition in fragile
wrappers, quite memorably inscribed. Parr & Badger I:134. Open
Book, 110-11. Images fine, fragile original wrappers with slight
edge-wear, tiny bit of loss to lower corner of front panel; a bright,
near-fine copy, extremely scarce inscribed.
32
 brassaï

“Any One Of The Chance Events Of Everyday Life”

29. BRASSAÏ. Graffiti. Stuttgart, 1960. Square quarto, original white cloth, original photographic dust jacket. $3800.

First edition of one of the most elusive of Brassai’s photobooks, published in

Germany one year before the French edition, boldly signed by Brassaï on the
title page, with 105 silvery photogravures from his 20-year passion for
recording “any one of the thousands of chance events of everyday life.”

Having carved “a definite step into new territories” with the ravishing
images of his 1933 photobook Paris de Nuit (Parr & Badger I:134), Brassaï
prowled Paris streets for two decades to assemble this chronicle of urban
life: a sequence of rough scribblings, etched into city walls, that evoke, in his
own words, “any one of the thousands of chance events of everyday life.’”
These 105 photogravures, most printed in full-bleed, black and near-black
tones, accentuate the power of an artist whose “silver images form one of the
most rewarding bodies of work in 20th-century photography” (New York
Times). One of the most elusive of Brassaï’s photobooks, this is
the true first edition, published in Stuttgart, preceding the first
French edition by one year. Text in German. With very scarce
original dust jacket. Book fine, lightest edge-wear, single small
tape reinforcement to verso of bright, original dust jacket. An
exceptional, near-fine copy, scarce signed.

33
 brassaï

“The Eye Of Paris”

30. (BRASSAÏ) Brassaï. New York, 1968. Slim quarto, original
blue cloth, dust jacket.  $2500.

First edition of this retrospective catalogue, inscribed “Pour Janine et

Dave, leur ami Brassaï, New York, le 9 Dec. 1968.”

Brassaï’s unique images of Paris and his portraits of artists like

Picasso and Dalí earned him the epithet, “the eye of Paris,” coined by
his friend Henry Miller. “Always astonishing in Brassaï’s work is the
strong presence of people. They fill every setting with their physical
volume and reveal the photographer’s genuine involvement. No
photograph was taken just for its own sake. Despite all his
transformation of life into a photographic image,
Brassaï’s pictures were always a confession of humanity”
(Icons of Photography, 52). This exhibition catalogue is a
“retrospective sampling of Brassaï’s finest work,”
containing 61 images and an introductory essay by
Lawrence Durrell. Fine condition. Scarce.

34
 brassaï

“It’s Not Climate-Controlled Air And Soft Lighting That Canvases Need; They Have
Need Of Air And Light Just As We Do. In Obscurity, They Despair And Whither”
31. Brassaï. “An Afternoon With Picasso at 85.” Twenty typewritten sheets, 8-1/4 by 10-1/2 inches, with typing on
rectos only, hand-corrected throughout by Brassaï.  $6800.

Superb original unpublished 20-page manuscript by Brassaï of a visit with his longtime friend Picasso, from the collection
of Brassaï’s close friend and colleague, photographer Stefan Lorant. Typed and signed on the first page by Brassaï, with
numerous (about 25 substantive, 100 or more minor) corrections in his hand.

Brassaï was a longtime friend of Picasso’s, and in 1964 he published Conversations with Picasso, an account of the friendship
and artistic collaboration that existed between the two men. Picasso said of it, “Read this book if you want to understand
me.” This manuscript is an account of a visit paid to Picasso by Brassaï in July 1966 at Picasso’s home near Cannes, two
years after the publication of the book. It is written in the style of the book—a detailed and intimate account of their
interactions. According to Brassaï, who has been described by Henry Miller as “a living eye,” the ideal photographer is “an
implacable spectator, an impartial witness and a faithful chronicler,” but also someone with a “sense of the magic beneath
the surface of reality” (Roth, 76). Brassaï brings these observational skills to bear in his account of his interactions with
Picasso. During the course of the afternoon, Picasso speaks about nostalgia for his old studios, his health, his enthusiasm
for the recently invented felt-tip pens, his new explorations in the medium of engraving, his obsession with writing, his
opinion of his own published writings, the trappings of fame, his relationship with his wife Jacqueline, and feminism. Text
in French. Some scuff marks on verso from carbon paper. Excellent condition. A fascinating addition to any Picasso or
Brassaï collection.
35
 alexey brodovitch

“The Ecstasy And Essence Of The Dance”

32. BRODOVITCH, Alexey. Ballet. New York, 1945. Oblong quarto, original half gray cloth, original French wrappers
over stiff paper boards. $9500.

First edition, an exceptionally scarce “photobook legend,” Brodovitch’s first and only authored work, one of only 500
copies, featuring 104 dynamic black-and-white photogravure plates with “a vibrancy and fluidity that perfectly captures
the motion of dance” (Parr & Badger), in fragile original French wraps.

“One of the most cinematic and dynamic photobooks ever published… [Ballet] has become a photobook legend for two
reasons. Firstly, only a few hundred copies were printed, so the book is more talked about than actually seen. Secondly, the
volume was extremely radical… Alexey Brodovitch’s pictures totally violated the accepted conventions… [creating] a
vibrancy and a fluidity that perfectly captures the motion of the dance” (Parr & Badger I:240). During his 24 years at
Harper’s Bazaar, Brodovitch (1898-1971) became “one of the most influential teachers in photography” by guiding the
careers of Richard Avedon and countless others (New York Times). Yet his own work as a photographer remained unknown
until this 1945 publication of Ballet, the first and only work authored by him.
Here Brodovitch “reconnected with one of his enduring passions: the Ballet
Russe de Monte Carlo… In New York, he photographed the company in
rehearsal, in performance, and backstage… Working with an extremely
mobile 35mm camera, Brodovitch captured the ecstasy and essence of the
dance in images that shift, dissolve, blue, darken impenetrably, or explode
into light” (Roth, 110). One of only “500 copies, the entire edition” (Open
Book, 136), with most “distributed to the artist’s inner circle rather than to
bookstores” (Roth, 110). Text by Edwin Denby. Front inner paper hinge
reinforced, wrappers with expert restoration. Rare.
36
 bill burke

“A Photographer Is Not A Soldier Nor A Refugee,

He Is A Spectator Who Tries To Show A Situation”
33. BURKE, Bill. I Want to Take Picture. Atlanta, 1987. Folio, original
laminated boards. $2600.

First edition, one of only 1000 copies printed of Burke’s seminal photographic
account of his travels in Southeast Asia in the early 80s chronicling the after-
effects of the Khmer Rouge regime in Cambodia. This copy inscribed on the title
page: “For Norman. Bill Burke.”

Part diary, part scrapbook, part photo essay, in I Want to Take Picture “Burke’s
black-and-white Polaroid and 35mm Leica photographs are surrounded by
colorful cigarette packs, beer labels, bottle caps, massage parlor come-ons, and
scrawled journal pages that add a hands-on immediacy to the spreads. Rather
than feeling added-on or unfinished, this gonzo layout is entirely
appropriate to the contents of the book… The triumph of this book is
that it does manage to reflect the mad experience of traveling in
Southeast Asia, while still reflecting on what it all means” (Roth, 258).
A fine inscribed copy.

37
 margaret bourke-white

“A Fearless Photojournalist Who Took Decisive Pictures

On The Forefront Of World Events”
34. BOURKE-WHITE, Margaret. “Dear Fatherland, Rest Quietly.” A Report on the Collapse of Hitler’s “Thousand
Years.” New York, 1946. Octavo, original gray cloth, dust jacket. $2800.

First edition of Bourke-White’s landmark chronicle of the fall of Nazi Germany, used as part of the evidence at the
Nuremberg Trials, with 117 black-and-white photographs. This copy, inscribed by Bourke-White, one of the first
photographers hired by Life magazine, to Andrew Heiskell, publisher of Life at the height of Bourke-White’s career, “For
Andrew Heiskell, Cordially, Peggy Bourke-White.”

“A fearless photojournalist who took decisive pictures on the forefront of world events”
(Stepan, 102), Margaret Bourke-White was “one of the first photojournalists who told
a news story in pictures and also wrote the text” (New York Times). “During WWII she
was the only foreign photographer in Moscow during the German bombardment [and
she, traveling with Patton’s Third Army in its march across Germany,] photographed
Nazi death camps at the end of the war; critics say some of her best shots were those of
the…victims of Buchenwald when General George Patton arrived to release them in
1945” (ANB). “Patton ordered the 1000 people of the town of Weimer to see what had
happened so close to their homes. Bourke-White photographed the atrocities as well
as the faces of the people in the town as they viewed the destruction” (Signorielli). This
extraordinary association copy inscribed by Bourke-White, who was one of the first
four photographers hired by Life magazine in 1938, to Andrew Heiskell, longtime
chairman of Time, Inc. and the dynamic publisher of Life at the pinnacle of Bourke-
White’s career. Interior fine, light soiling to near-fine book; some chipping, closed
tears, tape repair to verso of fragile, bright, very good dust jacket. An unforgettable
association copy.
38
 margaret bourke-white

“Photographs Which Speak And Do Not Merely Show”

35. CALDWELL, Erskine and BOURKE-WHITE, Margaret. North of the Danube. New York, 1939. Quarto, original
beige linen, dust jacket. $1200.

First edition of the second photobook co-authored by photographer Bourke-White and novelist Caldwell, with text by
Caldwell and 79 evocative black-and-white photogravures by Bourke-White, a rare association copy with the ownership
stamp of noted German photographer Lotte Jacobi on the half title.

Newlyweds Erskine Caldwell and Margaret Bourke-White followed their classic 1937
photobook, You Have Seen Their Faces in 1939 with this compelling photo-essay of a
country on the edge of war—for by the time North of the Danube appeared in 1939,
Czechoslovakia had already been invaded by Germany. “When historians come to
write the story of the downfall in 1938 and early 1939 of the Czecho-Slovak Republic,”
wrote a reviewer in 1939, “they will find many clues in the simple stories Caldwell tells
and perhaps even more information in the superb pictures taken by his collaborator…
photographs which speak and do not merely show… revealing the photographic and
artistic genius of Margaret Bourke-White” (New York Times). This rare association
copy contains the ownership stamp of German-born photographer Lotte Jacobi, who
fled the Nazis in the 1930s for America. Bruccoli & Clark, 90. See Open Book, 124;
Parr & Badger I:140; Roth, 94. Images clean and fresh; light edge-wear to bright
photographic dust jacket. A near-fine copy with a memorable association.

39
 harry callahan

“Nearly Every Artist Wants To Reach The Edge Of Nothingness”

36. CALLAHAN, Harry. Water’s Edge. Lyme, Connecticut, 1980. Folio, original tan linen,
accompanied by an original silver print from negative, in original laid paper chemise; original half vellum
clamshell box. $8500.

Signed limited first edition of this hauntingly beautiful work, number 25 of only 50 copies with a signed
silver print, entitled “Cape Cod 1973,” of a total edition of 216 copies signed by Callahan, with 48 beautiful
full-page duotones (four in a single folding spread).

Inspired by Ansel Adams and Moholy-Nagy, Harry Callahan developed his own “restless formal
innovation… at once supremely rational and expressive, cool but hooked on visual pleasure” (Roth, 168).
He is considered one of America’s pioneers of the photographic medium and is credited with helping to
establish the artistic legitimacy of photography in both academic and high art circles. This collection of
48 finely-screened duotones, comprising Callahan’s “Beach Series,” includes an introductory poem by
A.R. Ammons, and an afterword by Callahan himself, in which he postulates that “nearly every artist
wants to reach the edge of nothingness—the point where you can’t go any farther. I feel I have come close
to that at various times with the Beach Series photographs.” See Roth, 168-169; Parr & Badger, 310. Witkin
& London, 101. Fine condition.

40
 robert capa

“With Only One Date Ahead Of Them, The Date Of The War’s End”
37. CAPA, Robert and FORBES-ROBERTSON, Diana. The Battle of Waterloo Road. New York, 1941. Octavo, original
gray cloth, dust jacket. $1500.

First edition of the Robert Capa’s second photobook, with text by British journalist
Diana Forbes-Robertson, featuring over 110 black-and-white photogravures by
Capa.

A British journalist whose work frequently appeared in The New York Herald
Tribune, Diana Forbes-Robertson first met photographer Robert Capa while both
covered the Spanish Civil War. Their collaboration on The Battle of Waterloo Road
captures the life of Londoners in the early years of WWII, focusing on the everyday
experiences of the Gibbs family and their neighbors. The first book by Forbes-
Robertson and the second by Magnum co-founder Capa, this study of war on the
home front complements Capa’s landmark Death in the Making (1938), whose
images of the Spanish Civil War fundamentally “defined modern war photography”
(Parr & Badger, 139). Owner inscription. Book fine; some edge-wear, chipping with
loss to spine head affecting title, tape reinforcement to recto of very good, bright
dust jacket. Rare.

41
 cornell capa

“They Speak Whole Sentences, And Indeed Whole Volumes”

38. CAPA, Cornell. Cornell Capa: Photographer. Santa Monica, 2002. Quarto, original blue cloth,
mounted cover photographic print. WITH: Original photographic print, measuring 8 by 10 inches. Housed in
original chemise and slipcase.  $4200.

Signed limited first edition, number 37 of 50 copies with a silver print (“Bolshoi Ballet School”) signed and
numbered on the verso by Capa.

Like his brother Robert, Cornell Capa “has become a legendary figure in American photography… [one of
what Capa called the] ‘concerned photographers,’ who used their cameras as instruments of social change”
(McDarrah & McDarrah, 77), documenting the Six-Day War, the American political scene, including the
presidency of John F. Kennedy, and the Soviet Union. Upon his brother’s death in 1954, Cornell Capa joined
Magnum, and for many years he has been a leader in American photography as one of the founders of the
International Center of Photography. With introduction by Richard Whelan. Book and signed print fine.

42
 paul caponigro

“A ‘Realm Of Beauty’ Beyond The Control Of Reason”

39. CAPONIGRO, Paul. Sunflower. New York, 1974. Square quarto, original orange cloth, slipcase. WITH:
Photograph signed. No place, 1985. Silver gelatin print (7-1/2 by 9-1/2 inch sheet), signed and stamped on the
verso, original folio sleeve.  $2400.

Signed limited “deluxe” first edition, number 328 of only 400 copies, signed in black ink by Caponigro, with
51 finely screened duotone plates, accompanied by a laid-in silver gelatin print, stamped on the verso, “Special
Edition Print, Sunflower Book 1985” and signed in pencil by Caponigro.

In Sunflower and throughout his award-winning career, Paul Caponigro has combined “a purist’s faith in the
mimetic quality of the medium with a mystical, visionary temperament… seeking a ‘realm of beauty’ beyond
the control of reason” (New York Times). With meditative images especially attuned to nature’s evocative
power, Caponigro has expanded Ansel Adams’ and “Edward Weston’s love of landscape towards the realm
of mystery” (Frizot, 668), describing his continuing passion for the natural world as an attempt “‘to express
and make visible the forces moving in and through nature’… gaining contact ‘with the greater dimension—
the landscape behind the landscape’” (Photobook, 84). Signed limited first edition, with laid-in silver gelatin
print (of unnumbered plate 21) stamped on verso showing date of 1985. Preceded by 1974 trade edition. See
Szarkowski, 192. A fine copy.

43
 mario carrieri

“One Of The Most Important Works Of The Neo-Realist Tendency”

40. CARRIERI, Mario. Milano, Italia. Milan, 1959. Large quarto, original photographic paper-
covered boards, dust jacket.  $3500.

First edition, Carrieri’s first photobook, a groundbreaking urban portrait of Milan—“raw and
cinematic… dark and dangerous” (Parr & Badger)—with 135 black-and-white finely screened
photogravures.

“One of the most important works of the neo-realist tendency of the

1950s,” Mario Carrieri’s visceral urban portrait, Milano, Italia, is the
product of two years spent photographing “Italy’s largest city in a raw,
cinematic style. This was clearly derived from New York [1956], by
American photographer William Klein.” In this book’s high-contrast,
full-bleed images of Milan, “the most dynamic and least sentimental”
city in Italy, Carrieri explores “the city’s grittier aspects, being drawn
to the desolate outer suburbs, and even when photographing the city’s
glamorous center, he manages to make it look dark and dangerous”
(Parr & Badger I::214). Text in Italian. Book quite fine; very lightest
edge-wear, one small bit of tape reinforcement to verso of bright dust
jacket. A very scarce, about-fine copy.
44
 henri cartier-bresson

“One Of The Most Important And Influential Photographers Of This Century”

41. CARTIER-BRESSON, Henri. Images à la Sauvette. Paris, 1952. Folio, original pictorial boards designed by
Matisse.  $10,500.

First edition in French of “one of the greatest of all photobooks” (Parr & Badger), a rare presentation/association copy
inscribed by Cartier-Bresson on the title page to longtime friend and fellow photojournalist Peter Turnley, “a Peter Turnley,
très cordialement, Henri Cartier-Bresson 3.2.2000” (with two small graphic symbols following), featuring 126 photogravures
(many double-page) and cover designs by Matisse.

“Images à la Sauvette (The Decisive Moment) is a monograph of Cartier-Bresson’s best work, but it has overriding unifying
factors that elevate it into a great photobook. The first is the concept of the ‘decisive moment’ itself, which defines the
elegance of Cartier-Bresson’s imagery… No one achieved it more often or better. Images à la Sauvette is one of the greatest
of all photobooks” (Parr & Badger I:208). “Cartier-Bresson ranks as one of the most important and influential photographers
of this century” (Blodgett, 96). This copy warmly inscribed by Cartier-Bresson to fellow photographer Peter Turnley, an
award-winning photojournalist, who has often acknowledged Cartier-Bresson’s profound influence over his own impressive
career. Published simultaneously with the first English edition.
Text in French. Issued without dust jacket, and without separate
caption pamphlet (prepared for the English edition only). Light
soiling, dampstaining to bright boards; a near-fine copy with a
desirable association.

45
 henri cartier-bresson

“The Decisive Moment, It Is The Simultaneous Recognition,

In A Fraction Of A Second, Of the Significance Of An Event…”
42. CARTIER-BRESSON, Henri. The Decisive Moment. New York, 1952. Folio, original pictorial boards and dust
jacket designed by Matisse. Original caption pamphlet laid in. $6500.

First edition in English, published simultaneously with the French, featuring 126
photographs by “the Raphael of 20th-century photographers.” Cover designs and
matching jacket by Matisse.

“Cartier-Bresson has a special interest in photographing people and in capturing the

essence of what has not previously been seen. He is famous for his theory of the
‘decisive moment’—that is seizing the split second when the subject stands revealed
in its most significant aspect…” (Blodgett, 96). The Decisive Moment is Cartier-
Bresson’s most famous work, containing his most comprehensive and important
statement on the meaning, technique, and utility of photography. “The simultaneous
publication [of this edition with Images à la Sauvette] in New York in July 1952, with
a cover by Matisse (who had just had his retrospective at the Museum of Modern
Art) was a tremendous success” (Roth, 134). With separate caption pamphlet laid in.
Parr & Badger, 308-09. Open Book, 154-55. Book fine. Dust jacket near-fine with
only slightest sunning. A beautiful copy.
46
 henri cartier-bresson

“I Was There And This Is How Life Appeared To Me At That Moment”

43. CARTIER-BRESSON, Henri. Les Européens. Paris, 1955. Folio, original red, blue and yellow pictorial paper-
covered boards designed by Miró. $3800.

First edition of one of the seminal photobooks of the 20th century, with 116 large
black-and-white photogravures, featuring cover design by Joan Miró. From the
collection of noted photographer Peter Turnley.

In the space of only three years, Henri Cartier-Bresson revolutionized photography

with two photobooks, seminal works that “defined the elegance of his imagery…
[and] made Cartier-Bresson an international superstar.” Here in Les Européens he
repeated the “artistic success” of Images à la sauvette (The Decisive Moment, 1952),
also published by Tériades, following that edition’s same format, though “this time
with a cover by Joan Miró… [and] a more specific theme—postwar life in Europe.”
From the collection of acclaimed Paris-based photojournalist Peter Turnley, who
has covered “almost every important international news event of the last 15 years”
for Newsweek and Harper’s Magazine (New York Times). With preface in French by
Cartier-Bresson. The Europeans. Owner signature. Images exceptionally fresh,
light soiling and edge-wear to bright original boards. Near-fine condition.

47
 henri cartier-bresson

“A Spirit Of Discovery And Celebration”

44. (CARTIER-BRESSON, Henri) MONTIER, Jean-Pierre. Henri Cartier-Bresson and the Artless Art. London,
1996. Folio, original black cloth, dust jacket.  $3800.

First edition, with 299 illustrations (ten in color), this copy inscribed on the verso
of the front free endpaper, “pour for Nicholas [Glass], Très, very cordialement, En
rit Ca Bre.” Autograph release form on yellow legal paper laid in, regarding rights
to a television interview of Cartier-Bresson, initialed by him: “J’ai parlé a Channel
Fo[u]r avec Mr. Nicholas [Glass] et c’est tout En rit, alias HCB, la 5.2.2000.”

The partnership between Montier and Cartier-Bresson “infuses this handsome

volume with a spirit of discovery and celebration. The photographs themselves
are, of course, quietly magnificent, and many—especially those taken in Japan,
India, Iraq, and Mexico in the 1950s and 1960s, powerful compositions of people
scraping sustenance and joy from ancient, arid, and comfortless lands—reveal a
fresh facet of Cartier-Bresson’s art and compassion” (Donna Seaman). The
accompanying hand-written release form from Channel 4 News, regarding the
exclusive transmission of an interview of Cartier-Bresson by Nicholas Glass, is
endorsed by HCB. Inner hinges expertly repaired, otherwise fine.

48
 chargesheimer

“A Vaguely Sinister Atmosphere”

45. CHARGESHEIMER [HARGESHEIMER, Karl]. Köln 5 Uhr 30 [Cologne 5:30]. Köln, 1970). Folio, original stiff
photographic wrappers. $3800.

First edition of Chargesheimer’s landmark work, his final photobook, with 64 striking
folio photogravure plates of the photographer’s native Cologne.

“Chargesheimer was one of the most prolific German photographers of the 1950s and
60s.” Positioned between the subjective vision of Otto Steinert’s Fotoform group and
the emerging objectivity of Bernd and Hilla Becher’s industrial photography,
Chargesheimer’s Köln 5 Uhr 30 marks a crucial turning point in the history of
European photobooks. Fascinated by the look of early morning, deserted streets,
Chargesheimer here portrays his native Cologne in folio photogravure plates that
convey a “vaguely sinister atmosphere… Chargesheimer created a rigorous formal
framework for this book, determined by the steep perspective generated by the wide-
angle lens and the fact that every image is vertical” (Parr & Badger I:223). Introductory
text in German on inner wrapper with printed facsimile of Chargesheimer’s signature.
Without extremely scarce slipcase. Images clean and fresh, two leaves reattached;
light edge-wear to bright, unrestored wrappers. A scarce, pivotal photobook in near-
fine condition.
49
 larry clark

“Once The Needle Goes In It Never Comes Out”

46. CLARK, Larry. Tulsa. New York, 2000. Slim folio, original black cloth, slipcase; with silver-nitrate print from
negative (8 by 10 inches). $2200.

Signed limited Grove Press edition of Clark’s shocking first book, number 67 of only 250 copies signed by Clark. Accompanied
by a silver print (not pictured in the book), signed and numbered on the verso in 2000, for this edition.

Tulsa is a photography classic—the work that established Clark’s reputation, despite its limited exposure from a small print
run. It documents the violent, desperate lives of “speed freaks” in the photographer’s hometown, told from inside the story.
Clark has innovatively collapsed the distance between the “objective observer” and his subjects. First published in 1971 by
Ralph Gibson’s Lustrum Press. This limited re-publication by the Grove Press is accompanied by a signed print, released
here for the first time. See Open Book, 272-73. Fine condition.

50
 william claxton

“Photography Is Jazz For Your Eyes”

47. CLAXTON, William. Jazz West Coast: A Portfolio of Photographs. Hollywood, 1954. Slim folio, original staple-
stitched black illustrated paper wrappers. $2500.

First edition of this early photographic documentation of pioneering West Coast

jazz musicians and their scenes.

“Portraits of jazz artists proliferated in the 1940s with the works of William Gottlieb,
Herman Leonard and Ray Avery. This portraiture symbolized the new emphasis on
the solo artist during the decline of the big band/ swing era, and also created a new
artistic category: jazz photography… Jazz photographer William Caxton used reality
to capture a fantasy. Claxton’s work focused primarily on the West Coast jazz scene
as he sought to capture the same ‘cool’ feel as the cool jazz sound itself. In the 1950s,
while in college, he helped record producer Richard Bock start the Pacific Jazz record
company, for which he shot all the covers” (Robert O’Meally). This splendid collection
of jazz greats, mostly candid shots at rehearsals and in recording studios, stands as
an authentic visual record of the West Coast tradition. Pioneers include Shorty
Rogers, Gerry Mulligan, Chet Baker, Curtis Counce, Hampton Hawes, Stan Getz
and Dave Brubeck. Near-fine condition.

51
 alvin langdon coburn

“To Arrest And Thereby Eternalize The Current Moment”

48. COBURN, Alvin Langdon. London. London and New York, 1909. Folio, original half green calf; custom clamshell
box.  $35,000.

First edition of Coburn’s groundbreaking first photobook, an elegant folio production of 20 hand-pulled platinum-toned
gravure plates tipped onto rich gray paper, each prepared by Coburn himself, representing a revolutionary “transition
from pictorialism to modernism… a shift in attitude that triggered the final push towards photographic modernism”
(Parr & Badger).

Poised at a crucial turning point in the history of photography, the work of Alvin Langdon Coburn represents the “transition
from pictorialism to modernism, from 19th- to 20th-century photography” (Parr & Badger I:74). Having learned how to
print photogravures at London’s School of Photo-Engraving, Alvin Coburn sought to perfect the process by setting up his
own copperplate printing presses. London, his magnificent first book of photography, features “20 luscious hand-pulled
photogravures with black edges, tipped in on heavy gray marbled paper. Coburn made all of the gravures himself: etching
on various papers until he got the print he wanted, and then supervising the entire print run” (Roth, 38). In Coburn’s
luminous photogravures of his own photographs, such as “his famous view of St. Paul’s,” we see a “cloud of smoke that…
is a characteristic element” in his work (Parr & Badger I:74). A key member of Alfred Stieglitz’s Photo-Secession and a
friend of many Cubists, “Coburn had one foot in the 19th century and one foot in the 20th century… Coburn’s London,
for instance… depicts London—Westminster Abbey, Hyde Park Corner, Waterloo Bridge, Kingsway, Saint Paul’s
Cathedral—through a soft-focus painterly haze… Coburn used the transitory medium of photography to displace time, to
arrest and thereby eternalize the current moment” (Roth, 6, 38). Without extremely scarce dust jacket, rarely seen. Open
Book, 50. Bookseller ticket. Light scattered foxing, minimally affecting several plates; expert restoration to spine ends. An
extremely good copy of Coburn’s momentous and sumptuous work, in a handsome clamshell box.

52
 alvin langdon coburn

“Toward A More Radical Way Of Seeing”

49. COBURN, Alvin Langdon. New York... With a Foreword by H.G. Wells. London and New York, 1910. Folio,
original gilt-lettered paper boards rebacked in calf. $48,000.

First edition of one of the most important photobooks of the early 20th century, the follow-up to his celebrated London,
with 20 hand-pulled gravure prints prepared and printed by Coburn.

“From 1906 to 1909, Coburn learned how to make photogravures at the London County Council School of Photo-Engraving
in London, and when he and his mother moved out of their apartment on Guilford Street into the little house in
Hammersmith… [he] immediately set up two copperplate printing presses and began to produce his first two books:
London, in 1909 and New York, in 1910. Each book contained twenty luscious hand-pulled photogravures with black edges,
tipped in on heavy gray marbled paper. Coburn made all of the gravures himself: etching and steel-facing the plates,
grinding the inks, pulling proofs on various papers until he got the print he wanted, and then supervising the entire print
run” (The Book of 101 Books, 38). Clearly one of the most important, if not the most important, photographically illustrated
books of the 20th century, New York is much scarcer than its counterpart London. “It is the New York volume that might
be considered the more proto-modernist in spirit, not only because New York itself was the most palpably modern city,
epitomized by that great leitmotif of early modernist photography, the skyscraper, but also because the form of the city, as
created by these large, monolithic buildings, pushed Coburn toward a more radical way of seeing” (Parr, 74). Hasselblad
52. Roth, 38. A beautiful copy without very rare dust jacket, neatly rebacked in half calf. Preliminaries lightly foxed, plates
crisp and clean.

53
 lucien clergue

“Three Subjects Are My Main Interest:

Death, Life And A Kind Of No-Man’s-Land In Between”
50. CLERGUE, Lucien. Onze Nus. Paris, 1967. Oblong 12mo, 11 original mounted silver-nitrate prints loose in
portfolio, original hand-lettered yellow paper wrappers. Images measure in various sizes, mostly 7 by 5 inches. $9500.

Signed limited calligraphic first edition of one of Clergue’s classic works on the female nude, number 57 of only 250 copies,
with 11 mounted silver-nitrate prints, inscribed, “26 Aout ’75, Pour Arnold Crane, en souvenir de votre zen centre au bord
du grand lac de Chicago. Sincerement, Lucien Clergue,” with a large drawing of Lake Michigan, and signed twice more by
Clergue—on the cover and on the calligraphic limitation page.

A protégé of Picasso and now considered a contemporary master, Lucien Clergue has been producing evocative photographic
still images since the fifties, working almost exclusively in his native Arles. This collection of 11 original prints from
negatives, some used earlier to illustrate Paul Éluard’s Corps Mémorable (1957), is representative of his “studies of nudes
posing in landscapes that evoke similarities to images of earth goddesses” (McDarrah, 85). Parr & Badger, 192. This special
copy was presented to fellow photographer Arnold Crane, who in addition to being one of the most noted American
photographers of the 20th century, was also one of the country’s preeminent photography collectors. A splendid artistic
production, in fine condition, inscribed to another famous photographer.

54
 joan colom

A “Daring Book”
51. (COLOM, Joan) CELA, Camilo José. Izas, Rabizas y Colipoterras. Rocafort and Barcelona, 1964. Quarto, original
photographic laminated boards, later dust jacket. $2200.

First edition, with later limited edition dust jacket, number 123 of only 200 dust jackets printed following Cela’s 1989 Nobel
Prize for Literature, featuring 28 black-and-white photogravures of Barcelona prostitutes by Joan Colom.

“From 1958 to 1961, Joan Colom surreptitiously photographed the lively social sphere of Barcelona’s red light district,
known as the Ravel. Colom exhibited this series to great acclaim at a gallery in Barcelona as well as throughout Spain. Then
in 1964 he made the fateful decision to publish it in book form, collaborating with the novelist Camilo José Cela. Izas,
Rabizas y Colipoterras flaunted a theatrical, black humor infused with Goya-esque wisdom about matters of the flesh. Its
charged images were accompanied by a provacative, idiomatic text written in Catalonian dialect. The dictatorial Franco
regime took such offense at the book that Colom stopped photographing, possibly in fear for his life… Taking the profane
as a route to the sublime, the shifting positions that Colom navigated as a photographer, voyeur, and participant were
echoed in Cela’s text. With fine sardonic humor, Cela muses about life in the Raval, making rich use of various literary
genres and voices…Colom’s intense involvement in the drama of the Raval and his affection for its people give his work a
special piquancy… Colom, his work, and his daring book remain a fascinating testament to the lasting power of Catalan’s
cultural independence” (Deborah Garwood). Parr & Badger I:220. An exceptionally fine copy, in scarce limited edition
dust jacket.

55
 joe conzo
“The Drama And Dynamics Of Early Hip-Hop”
52. (CONZO, Joe). Born in the Bronx: A Visual Record of Rap’s Early Days. London, 2005. Original printed
white album cover, containing three slim staple-bound quartos in original pictorial paper wrappers, five unbound
flyers in original envelope, ten black-and-white glossy photographs in original hand-lettered envelope, and one LP in
album sleeve.  $1800.

Signed limited first edition of this important audio-visual archive of the early history of hip-hop, number 19 of only 25 sets
for private distribution with a special suite of ten numbered prints each signed by Joe Conzo; five numbered flyers, one
signed by Buddy Esquire; LP of some unreleased late 1970s battle tapes; and three exhibition catalogues.

“For years there was nothing: a handful of amateur snapshots had been culled together for books like Rap Attack, Yes Yes
Y’All and Steven Hager’s Hip Hop… Where were the photos of the ‘old’ old school? They were at Joe Conzo’s house. Joe
Conzo was the official snapper for the Cold Crush Brothers, and an aspiring documentary photographer, who shot a lot of
hip-hop shows circa 1979-1981… Joe’s eye is fantastic: the drama and dynamics of early hip-hop are captured in his
photographs” (FACT). Using his photography as a starting point, the curators at the Vinyl Factory Gallery put together
“the first comprehensive visual record of rap’s early days... Curator Johan Kugelberg has been archiving hip-hop’s earliest
artifacts for many years, slowly piecing together the story. The result is the earliest records of the movement, incorporating
the incredible photography by Joe Conzo, plus battle tapes, flyers, films, label art and sleeve art… The previously unseen
hip-hop photography of Joe Conzo says as much about the musical movement as it does the socio-economic state of the
Bronx in the 1970s. Joe’s lost photo archives documents performance, fashion, and street life in the Bronx hip-hop
community in the late 1970s, with outstanding action shots of the legends of yore. Conzo’s images date from rap’s Year
Zero” (FHM). Published in conjunction with the 2005 “Born in the Bronx” exhibition at London’s Vinyl Factory Gallery.
Fine condition. Rare.
56
 michael cooper

“The Most Stupendous Rock And Roll Picture Book Ever Assembled”
53. (COOPER, Michael) ROYLANCE, Brian, editor. Blinds & Shutters. Guildford, 1990. Thick folio, original three-
quarter black morocco, black and yellow silk-screened box inset with sliding “blind,” concealing a Cooper print.  $2200.

Signed limited first edition of this lavish memorial to music celebrity photographer
Michael Cooper, number 3660 of 5000 copies, with over 600 images of such 60s rock
groups as the Beatles and the Rolling Stones, signed by Bill Wyman and ten other
contributors, including David Hockney.

Photographer Michael Cooper worked with leading rock stars, including The Rolling
Stones, The Beatles, Marianne Faithfull and Eric Clapton; painters Francis Bacon, Andy
Warhol, Peter Blake and David Hockney; and writers William Burroughs, Jean Genet
and Allen Ginsberg. Their lives are sensitively recorded in Cooper’s intimate images and
candid portraits, together with comments and recollections by friends and associates.
Cooper’s work makes the rock experience of the era accessible through the eyes and
minds of its key players. The cover of the book’s protective box incorporates a sliding
“blind” under which is mounted a Cooper print. Fine condition, with only a small
corner-crease to frontispiece. A magnificent production.

57
 edward curtis

“The Indian As He Has Hitherto Been Is On The Point Of Passing Away”

54. CURTIS, Edward. The North American Indian… Norwood, MA, 1926. Folio, original three-quarter brown
morocco gilt.  $18,000.

Volume XVI of this monumental 40-volume work, number 455 of a limited edition of 500 copies (but probably only 272
copies produced), printed on Japan vellum. With 75 splendid sepia photographic plates.

This volume of Curtis’ beautiful and important work is dedicated to the Pueblo Indians of the Rio Grande Valley, including
the communities of Taos and Isleta of the Tiwa linguistic group and the villages of Cochiti, Santo Domingo, Acoma, and
Laguna of the Keres group. “Edward Curtis was not like most photographers. He was not the first person to photograph
American Indians, or the last... However, there can be no doubt that he was the most prolific, the most dedicated, and the
most influential. He spent the best part of his life—nearly thirty years—documenting what he considered to be the
traditional way of life for Indians living in the trans-Mississippi West... His magnum opus was The North American Indian”
(Pritzker, Edward S. Curtis, 6). While the limitation page indicates that 500 sets were printed, it is believed now that only
272 sets were actually produced. Bookplate, discreet blindstamps of the Eastman Memorial Foundation. A beautiful and
most desirable copy in fine condition.

58
 bruce davidson

“A Lost World Of Stickball And Boardwalks”

55. DAVIDSON, Bruce. Brooklyn Gang. Santa Fe, 1998. Square quarto, original black cloth, dust jacket, clamshell
box, with black-and-white print measuring 5-1/2 by 8 inches; matted, measures 11 by 10 inches. $5500.

Signed limited first edition, number 32 of only 150 copies signed by Davidson, and one of only 50 to include a matted silver
gelatin print from the book, also signed by Davidson, in pencil on the verso,
featuring 71 sheet-fed, black-and-white photogravure plates.

In book form for the first time, this is the “most memorable” of Bruce Davidson’s
early photo essays, “the grainy, cinematic record of the time he spent hanging out
with a Brooklyn teen gang called the Jokers” during the late 1950s (Roth, 196).
Brooklyn Gang reflects Davidson’s award-winning reputation as a “poet of
transition, drawn to places and moments on the verge of historical eclipse… The
images of that summer have an eternal quality to them… a lost world of stickball
and boardwalks, of Vaseline hair and rolled sleeves” (New York Times). Published
here in book form for the first time, photographs from Davidson’s series initially
appeared in Esquire (June 1960). Text by Davidson; Emily Haas’ interview with
gang member Bengie. A handsomely produced, signed copy, in fine condition.

59
 robert delpire

“A Sense Of Rhythm And A Sense Of Life”

56. (DELPIRE, Robert) Collection Huit. CARTIER-BRESSON, Henri. Les danses à bali [Dances at Bali]. WITH:
DOISNEAU, Robert. Les Parisiens tels qu’ils sont. [Parisiens As They Are]. WITH: RODGER, George. Le Village des
noubas. [The Village of the Nubas]. Paris, 1954-1955. Three volumes. Small octavo, original boards, dust jackets; custom
slipcase.  $3800.

First editions, the prestigious three-volume “Collection Huit,” produced by noted French publisher Robert Delpire,
featuring the first Cartier-Bresson work published by Delpire, “Les danses à bali,” along with the first volume in this series,
Doisneau’s “Les Parisiens tels qu’ils sont”—both volumes from the collection of award-winning photojournalist Peter
Turnley—and the concluding volume, George Rodger’s “Le Village des noubas,” each with numerous black-and-white
halftones (many double-page), scarce complete.

Robert Delpire founded his landmark publishing house with editor Pierre Faucheux in 1951... Delpire’s groundbreaking
Collection Huit, scarce complete in this set of first editions, premiered with Doisneau’s Les Parisiens, whose 56 evocative
and “elegant black-and-white photographs seem the perfect embodiment of Gallic wit and romance” (New York Times).
That volume was followed by Les Danses à bali, Cartier-Bresson’s first photobook after Images à la sauvette (The Decisive
Moment, 1952), with halftones of “entranced dancers Cartier-Bresson photographed in Bali in 1949, whirling in ecstasy.”
The series’ concluding photobook, Rodger’s Le Village des noubas, features 38 full-page halftones of the Nuba tribe of
southern Sudan, including “one of Roger’s most famous photographs, that of a muscular dust-covered Nuba wrestler being
carried on the shoulders of another fighter.” Text in French. From the collection of acclaimed Paris-based photojournalist
Peter Turnley, each volume signed by him. Le Village with bookplate. All three volumes with images quite fresh; light
toning to spine of Les Danses, only light tape reinforcement to verso of bright, original dust jackets. An exceptional series,
scarce complete, in near-fine condition.

60
 rineke dijkstra

“A Major New Voice In Portraiture”

57. DIJKSTRA, Rineke. Portraits. München and New York, 2004. Large quarto, original gray paper-covered boards,
dust jacket, slipcase. WITH: Chromatic print signed. No place, June 29, 2004. Print measures 7 by 9-1/2 inches, written
in penciled hand on verso, matted within cloth portfolio, entire piece measures 10 by 13 inches. $2800.

Limited “Collector’s Edition” of the first retrospective to honor internationally

acclaimed Dutch photographer Dijkstra, number 90 of only 100 copies hand-
numbered in pencil by the photographer on limitation slip affixed to front free
endpaper and featuring 70 four-color plates, set together in original slipcase with
a matted chromatic print, enclosed in portfolio, titled and numbered in penciled
hand on the verso, “Chlopy, Poland, July 29, 1995, 90/100” and signed in same
penciled hand, “Rineke Dykstra, June 29, 2005.”

“When they first appeared in the 1990s, the portraits by the Dutch artist Rineke
Dijkstra caused more of a stir than any comparable imagery since Diane Arbus”
(Parr & Badger I:277). In this beautifully produced photobook, the acclaimed
photographer portrays “young people in moments of vulnerability: young women
who have just given birth, standing naked before
the lens, child in arms; exhausted matadors
postfight” and her famed portraits of adolescents
on the beach. Text in German and English. A
fine copy.

61
 robert doisneau

“Even The Bleakest Images A Romantic Cast”

58. DOISNEAU, Robert and CENDRARS, Blaise. La Banlieue de Paris [The Suburbs of Paris]. Lausanne, 1949.
Quarto, original boards.  $2800.

First edition of Doisneau’s first book, featuring text by Blaise Cendrars and signed by Cendrars on the half title, with 130
black-and-white photogravures by Robert Doisneau.

While photographing writer Blaise Cendrars, Robert Doisneau was encouraged by the well-known poet and novelist “to
pursue and broaden the scope of a self-assigned project on the Paris suburbs. He… lent the cachet of his name and talents
in writing the text. Doisneau took full advantage, repaying Cendrars’ patronage with what is his best book… When
Doisneau began to photograph the suburbs of [Paris], they were still the tough but spirited working-class communities of
Julien Duvivier and Marcel Carné. But Doisneau caught them just as they were about to change and expand beyond
recognition, making this book a valuable document that looks unsentimentally yet affectionately at a popular idea of the
French working class” (Parr & Badger I:201). “The soft gray tones of the gravures here tend to give even the bleakest images
a romantic cast” (Roth, 132). Published simultaneously with the Paris edition. Text in French. Issued without a dust jacket.
Interior bright and clean; lightest soiling to cream-colored boards. About-fine condition.

62
 robert doisneau

“With My Affectionate Smile, The Old Man, Robert Doisneau”

59. DOISNEAU, Robert. Un certain Robert Doisneau. Paris, 1986. Folio, original black cloth, dust jacket. $3800.

First edition, a memorable association copy affectionately inscribed on the half title to Doisneau’s one-time assistant,
noted photojournalist Peter Turnley, “A mon copain Peter, complètement pollué par le climat parisien. Avec mon amical
sourire, le vieux Robert Doisneau” (To my comrade Peter, completely corrupted by Parisian life. With my affectionate
smile, the old man, Robert Doisneau”), featuring over 100 photogravure plates—
highlights of Doisneau’s celebrated career.

Doisneau’s lifelong commitment to immersing himself in the life of those he

photographed yielded numerous “elegant black-and-white photographs [that] seem
the perfect embodiment of Gallic wit and romance… Doisneau’s best images are
characterized by their knowing wit and affection for human foibles. Working in a
photographic tradition that includes the work of Kertesz, Brassaï and Cartier-
Bresson, Doisneau specialized in images of the rich social fabric of Parisian life”—
many seen here in Un certain Robert Doisneau (New
York Times). This exceptional association copy inscribed
by Doisneau to Peter Turnley, the award-winning
photojournalist who early in his career served as
Doisneau’s assistant. See Parr & Badger I:201. See Roth,
132. Images quite clean and fresh, light edge-wear to
cloth; bright photographic dust jacket. A highly desirable
association copy in near-fine condition.
63
 ken domon

“Japanese Life In The Troubled Aftermath Of The War”

60. DOMON, Ken. Chikuho no Kodomotachi [Children of Chikuho]. WITH: Rumie-chan wa Otosan ga Shinda
[Rumie’s Father is Dead]. Tokyo, 1960. Two volumes. Tall, slim octavo, original glossy wrappers; both pp. 96. $2600.

First edition of Children of Chikuho and Rumie’s Father is Dead—both important photo-commentaries on the lives of
children in the flagging coal-mining regions of Japan, with numerous revealing halftones and photogravures.

“Ken Domon is widely regarded as Japan’s leading photographer

of the immediate post-war years… He worked in the classic
photojournalistic mode, seeking to document Japanese life in
the troubled aftermath of the war… During the 1950s, at a time
when the rest of the Japanese economy was beginning to recover
to prewar levels, the coal-mining areas of Chikuho and
Kitakyushu, in the far south of Japan, suffered both from a
population exodus and pit closures… Domon documented the
effects of this drastic decline on the miners and their families in
[these] two books… Both look at the plight of the district’s
children… He aimed to reach out to the broadest possible
readership, thus he had the books printed cheaply, on rough
paper, in the manner of a bound newspaper” (Parr & Badger,
274, 278). Text in Japanese. Light embrowning. Spine of Rumie-
chan splitting, covers bright and unfaded. Rumie-chan extremely
good, Chikuho near-fine. Scarce.

64
 nell dorr

“Memorably Powerful In Their Sometimes Awesome Stillness”

61. DORR, Nell. Mother and Child. New York, 1954. Slim, square octavo, original half black cloth, dust jacket. $3800.

First edition of this engaging photographic essay on motherhood, touchingly

inscribed in the year of publication, “To Edward and Dana Steichen, These
were in the silver mirror on my wall and in me. You are here too—reflected
in your beautiful words and in my heart-felt thanks. Nell Dorr. May 19,
1954. Publication date, Sept. 1954.”

During World War II, Nell Dorr took her three daughters (whose husbands
were serving in the military) and her six grandchildren to a house in New
Hampshire where they were joined by Tasha Tudor’s family. These
photographs were taken during that stay. “Nell Dorr’s pictures are memorably
powerful in their sometimes awesome stillness and in their contained love
of childhood, of nature and its flowers and seasons.” Edward Steichen wrote
the jacket blurb for Mother and Child, calling it “a book containing essences
distilled from a mingling of cool waters and warm earth,” and he later
included Dorr in his great 1955 exhibition Family of Man. Ownership stamp
from the Estate of Lee D. Witkin, first New York dealer to achieve success
selling photographs as fine art. Book fine. Small closed tears to top edge of
near-fine original dust jacket. A wonderful copy, with exceptional association
and provenance.

65
 david douglas duncan

“The Highest Tide That Combat Photography Has Achieved” (Steichen)

62. DUNCAN, David Douglas. This is War! New York, 1951. Folio, original full red cloth, photographic endpapers,
original photographic dust jacket. $4500.

First edition of the celebrated photographer’s chronicle of the Korean War,

presentation association copy boldly inscribed to the chief of production at Harper
& Brothers: “To Dan Bradley. In the Very Beginning Everyone Stated That It Would
Be Impossible To Produce Such a Book So Quickly. Then They Said That The Quality
Would Suffer They Were So Wrong! We at ‘Life’ Consider This Book To Be The
Finest Job of Manufacturing a Picture Book On The Market. You Did It. Dave
Duncan.”

Duncan, already in Tokyo at the start of the Korean War,

quickly became the conflict’s most prominent photographer.
“This is War cemented Duncan’s reputation and established a
trope in late 20th-century war photography, that of the
common soldier… battle weary, but doing his job as best he
could” (Parr & Badger II:237). Here Duncan aimed to “show
what war did to a man. I wanted to show something of the
comradeship that binds men together when they are fighting
a common peril. I wanted to show the way men live, and die,
when they know Death is among them, and yet they still find
the strength to crawl forward armed only with bayonets to
stop the advance of men they have never seen.” Book fine,
dust jacket with light chipping, very good. A wonderful copy
with an exceptional inscription and provenance.

66
 william eggleston

“A Milestone In The History Of Color Photography”

63. EGGLESTON, William. William Eggleston’s Guide. New York, 1976. Small quarto, original black leatherette gilt,
mounted cover photograph. $3000.

First edition of Eggleston’s first photobook, signed by him on the title page, the groundbreaking first MoMA book of color
photography, with 48 color images.

“One of the seminal photobooks… marking the beginning of

another type of stream-of-consciousness photography [and] the
birth of color photography, or more accurately, the moment
when it was perceived as artistically respectable” (Parr & Badger,
265). “By all accounts, William Eggleston’s Guide and the 1976
Museum of Modern Art exhibition it accompanied were
milestones in the history of color photography. That doesn’t
mean either one was warmly embraced at the time… but given
MoMA’s stature and the full-on endorsement of the museum’s
photo tzar John Szarkowski, whose catalogue essay was a model
of tactful enthusiasm, Eggleston and color had to be dealt with”
(Roth, 234). “Eggleston’s pictures are at once modest and
monumental, vulgar and refined, ordinary and strange, prosaic
and poetic, commonplace and unforgettable” (Parr & Badger).
Open Book, 308-09. Fine condition.

67
 jean eparvier

“The Spark Of Journalism That Would Never Die”

64. EPARVIER, Jean. A Paris sous la botte des Nazis [Paris Under the Boot of the Nazis]. Paris, 1944. Quarto, original
photographic boards. $2500.

First trade edition, with over 225 black-and-white photographs, many secretly documenting the Nazi-occupation of Paris
from June 1940 to August 1944, published only three months after the city’s liberation by de Gaulle.

In this extraordinary photobook published only three months after the liberation of Paris, the city’s four-year occupation
by German forces is recorded in over 225 black-and-white photographs attributed to leading photographers such as Roger
Schall, Robert Doisneau, Pierre Vals, Maurice Jarnoux, Pierre Jahan, and the Seeberger brothers. The striking images
show Nazis marching through the Arc de Triomphe in June of 1940, streets lined with smashed statues and barricades,
underground prisons with the handprints of tortured prisoners dug into walls, and a series documenting an execution by
firing squad and the triumphant return of Général de Gaulle through the crowded streets of Paris. Published by Raymond
Schall, who withheld many negatives from the Nazi authorities and has been praised as one “who kept alive the spark of
journalism that would never die” (Paris Match). Featuring facsimile of de Gaulle’s announcement declaring the Liberation
of Paris. Introduction by Jean Eparvier. Text in French. First trade edition published simultaneously with a limited
edition of 1525 copies printed on special paper; without scarce original printed book band. Censor stamp. Owner
inscription on title page dated August 1946. Images fresh and clean; light edge-wear, faint soiling to bright photographic
boards. Near-fine.

68
 elliott erwitt

“You Just Have To Care About What’s Around You And Have A Concern With
Humanity And The Human Comedy”
65. ERWITT, Elliott. Personal Exposures. New York, 1988. Tall quarto, original red cloth, slipcase. $3500.

Signed limited first edition, published in conjunction with Erwitt’s major 1988 retrospective exhibition, number
87 of 150 copies numbered and signed by him, accompanied by a signed photographic print of his famous portrait
of Marilyn Monroe and the cast of The Misfits.

Erwitt’s “vision can be comic, without satire or judgment, but he also shows a sensitivity for the sad, tender and
touching” (Witkin & London, 132). In his introductory remarks, Erwitt writes about his approach to photography
“with wise humor and depth without pedantry. This does not surprise me, but is a comforting joy” (Cartier-
Bresson). The volume presents a number of Erwitt’s most celebrated images—such as Nixon and Kruschev’s
“kitchen debate” and Marilyn Monroe on the set of The Misfits—as well as many of “the personal, humanistic
photos that reflect his own vision of photography” (McDarrah & McDarrah, 132). Accompanied by a print of the
Monroe portrait, signed by Erwitt. A fine copy.

69
 walker evans

“In Every Child Who Is Born, Under No Matter What Circumstances…

The Potential Of The Human Race Is Born Again”
66. AGEE, James and EVANS, Walker. Let Us Now Praise Famous Men. Boston, 1941. Octavo, original black cloth,
dust jacket.  $9500.

First edition of one of the classic documentary works to emerge from the Great
Depression, with 31 reproductions of photographs by Walker Evans. Association copy,
inscribed “For Stuart, in friendship, Aaron” by Aaron Copland, who used it as the basis
for his opera The Tender Land.

Sent to Alabama in 1936 with photographer Walker Evans to write an article on tenant
farming, James Agee became consumed with the people and their lives, ultimately
writing almost 500 pages to accompany Walker Evans’ disturbing and beautiful
photographs. Lionel Trilling described the work as the “most realist and moral effort of
our American generation.” Agee described his collaboration
with Evans as a “book only by necessity… a set of tones rather
less like those of narrative than like those of music.” Inscribed by
composer Aaron Copland, who was so inspired by the work that
it became the source for his 1954 opera The Tender Land. Roth,
108. Book fine. Chip to head of unrestored dust jacket, not
affecting lettering. A near-fine association copy, scarce in this
condition.
70
 walker evans

“The Very Bones And Clay Of The Actual World”

67. EVANS, Walker. Message from the Interior. New York, 1966. Square folio, original gray cloth,
mounted cover label.  $12,000.

First edition of Evans’ striking images of life in the American heartland, inscribed “To Dick and Betty
Eberhart, with gratitude and much affection, from Walker, Hanover, Dec. 1972.” With 12 wonderful
full-page photogravures.

“The photographs of Walker Evans reproduce the very bones and clay of the actual world… [They]
persuade us that this is just what we would have seen, and understood, and recorded, had we been there”
(John Szarkowski). Taken from 1931 to 1962, these
photographs provide “emblems of home, possessions, and
social status… for posterity’s sake” (Stepan, 72) and “pick
up searing little spots of realism and underline them” (Parr
& Badger, 114). The recipients of this copy are Pulitzer-
Prize-winning Dartmouth poet-in-residence Richard
Eberhart and his wife Betty. Open Book, 220-21. See Roth,
17-22. Images fine. Only the lightest rubbing to extremities
of original cloth. A fine inscribed copy, scarce with splendid
association.

71
 walker evans

“Walker Tore Aside That Veil; He Woke Me From The Torpor Of The Accustomed”
(Robert Penn Warren)
68. EVANS, Walker. Walker Evans. New York, 1971. Quarto, original tan cloth, dust jacket.  $3800.

First edition of the landmark 1971 Museum of Modern Art retrospective of Evans’ work, with 100 black-and-white
photographic plates and six additional in-text images, boldly inscribed to his close friend Hilton Kramer, the prominent
New York Times art critic, in the year of publication, “Hilton Kramer, with an inscribed glow and, I hope, a flourish.
Walker Evans, 1971.”

In 1938, the Museum of Modern Art offered Walker Evans the first one-man
show it had ever given a photographer, an exhibit that “immediately established
him as a major artist” (Roth, 98). Walker Evans’ warm inscription to Hilton
Kramer testifies to their long friendship. In a 1971 interview with Paul
Cummings, Evans recalled Kramer’s response to the 1938 show and the critic’s
key role in affirming photography’s stature. “Hilton Kramer,” he said, “did a
very important thing—I think he made what will be art history by hailing that
show of mine and saying in the New York Times, ‘If you don’t realize the
importance of contemporary photography of this
sort, you’re missing something and you’re ignorant.
Wake up.’ He got very militant about that. It was the
first time it was said by an authority in an important
place and that made a hell of a lot of difference”
(Smithsonian Archives of American Art). Interior
fine. Slight foxing to fore-edge, mild toning to covers
of about-fine book. Pictorial dust jacket about-fine. A
highly desirable association copy.
72
 horst faas and tim page

“The Face Of Death Is Painted In Grain And Chrome”

69. FAAS, Horst and PAGE, Tim, eds. Requiem. New York, 1997. Quarto, original black cloth, slipcase. $1500.

Signed limited first edition of this collection of images taken by photographers who died in Vietnam and Indochina,
number 34 of only 115 copies signed by the editors.

“The legacy of these images is unassailable. The face of death is painted in grain and chrome, locking our hopes and fears
to the imponderable, making us smell that edge, tease it, pray for a certain peace” (Tim Page). This volume presents
hundreds of dramatic photographs, many full-page and several in color, by
such fallen photographers as Everette Dixie Reese, Robert Capa, Hunyh Thanh
My, Larry Burrows, Henri Huet, Kyochi Sawada and Hiromichi Mine, as well
as unidentified photojournalists who lost their lives covering the battlefield.
Many biographical essays accompany the haunting images. “Because Requiem
has been compiled with such skill and respect and care, it almost transcends
any other book of war photographs” (Los Angeles Times). A fine copy.

73
 robert frank

“Taking Rank Among The Tragic Poets Of The World”

70. FRANK, Robert. Les Américains. Paris, 1958. Oblong octavo, original glazed boards with drawings by Saul
Steinberg.  $22,000.

First edition, signed by Frank on the title page, his timeless masterpiece—no photobook “has been more memorable, more
influential, nor more fully realized” (Parr & Badger), with 83 full-page photogravures.

“From April 1955… to June 1956, Robert Frank made a number of short trips out from New York and one long (nine-
month) journey to the West Coast in a 1950 Ford to photograph America…‘With these photographs,’ he later wrote, ‘I have
attempted to show a cross-section of the American population. My effort was to express it simply and without confusion.
The view is personal…’ Such a simple intention for a book that
would so alter the course of modern photography” (Roth, 150). This
is the first edition, published in Paris, with accompanying texts in
French selected by Alain Bosquet. Frank’s Américains eventually
achieved legendary status as “the most renowned photobook of
all… It struck a chord with a whole generation of American
photographers… Many memorable photobooks have been derived
from this mass of material. None has been more memorable, more
influential, nor more fully realized than Frank’s masterpiece” (Parr
& Badger I:247). Copies signed by Frank are exceptionally
rare. Issued without a dust jacket; this copy with none of the
usual wear to spine ends. See Open Book, 176. A extremely
rare signed copy in fine condition.

74
 robert frank

“The Most Renowned Photobook Of All”

71. FRANK, Robert. The Americans. Introduction by Jack Kerouac. New York, 1959. Oblong octavo, original black
cloth, dust jacket. $20,000.

First American edition of Robert Frank’s influential masterpiece, a rare copy signed and dated on the title page, “Robert
Frank, NYC Jan. 2007,” with introduction by Jack Kerouac, featuring 83 black-and-white full-page photogravures.
Scarce in original dust jacket.

“One of the great photographers of the last 50 years,” Robert Frank

made several trips across America from 1955 to 1965, using his Leica
to reveal “a starkly asymmetrical and lonely America,” and creating
images that revolutionized photography with their “irreverence and
a dark humor… their grainy, out-of-focus effects, their tilting
perspectives and over-the-shoulder half views” (New York Times).
“From the more than 20,000 images that resulted, Frank eventually
chose 83 of them and arranged them into four chapters… ” (Roth,
150). Shortly after Frank’s return to New York, he became close
friends with Jack Kerouac and the writer offered to introduce any
collection of Frank’s photographs with a few words. With collage on
rear dust jacket panel designed by Alfred Leslie. Copies signed by
Frank are rarely seen. Open Book, 176. Images fresh and bright, light
edge-wear to cloth of near-fine book; some chipping affecting first
letters of spine head, some foxing, tape repair to verso of very good,
price-clipped dust jacket. A signal work in 20th-century photography,
with scarce dust jacket, quite rare signed.

75
 robert frank

“An Artist At The Height Of His Powers”

72. FRANK, Robert. Flower Is... Tokyo, 1987. Folio, original stamped gray silk,
slipcase with mounted cover photograph, shipping carton. $8800.

Limited first edition of Frank’s memorial volume to his daughter, one of 500
unnumbered copies, with 81 finely screened full-page halftones.

Flower Is…can be regarded as “an eminently fitting apotheosis for stream-of-

consciousness photography… It is primarily a memorial volume to Frank’s daughter,
who was killed in an airplane crash in 1974… The whole tenor of the book is forlorn,
which may be the adjective that best describes Frank’s work as a whole… It reveals an
artist at the height of his powers but hardly at peace with the world or himself” (Parr
& Badger, 264). At the core of Robert Frank’s photographic dialogue with the world,
writes Greil Marcus, is “a bet that the whole of life can be found almost anywhere”
(ArtForum). Captions and chronology in English and Japanese. See Roth, 150. A fine
copy in original publisher’s shipping box.

76
 robert frank

“One Of The Photobooks Most Sought By Collectors”

73. FRANK, Robert. Lines of My Hand. Tokyo, 1972. Folio, original black cloth,
slipcase with mounted cover photograph, shipping carton. $8200.

First edition of Frank’s second photobook following his landmark The Americans.

“This coveted photobooks… might be said to be Robert Frank’s first retrospective

monograph, but he doesn’t make conventional monographs. Everything he does is a
diary, a confession… As a retrospective, [it] is as good as it gets… The Motomura
edition of Lines is certainly one of the photobooks most sought by collectors” (Parr).
“When I selected the pictures and put them together I knew and I felt that I had come
to the end of a chapter. And in it was the beginning of something new” (Frank). With
30-page caption booklet in Japanese, often missing, laid in. Open Book, 286-87. A
fine copy in original publisher’s wrapping and shipping box.

77
 gisèle freund

“My Goal Has Been To Make My Camera A Witness Of The Time In Which I Live”
74. FREUND, Gisèle. Au Pays des Visages. Washington, 1977. Large folio (17 by 21 inches), loose signatures as issued,
matted color photographs, original blue cloth clamshell box. $16,500.

Signed limited first edition, number 23 of only 36 copies, numbered by the publisher and with all ten prints signed by
Freund.

Freund was one of the pioneering female photojournalists of the 20th century, being particularly known for such
works as a documentary of one of the last pro-Hitler rallies before he took power. A socialist and a Jew, she fled to Paris
from her native Germany and quickly became intimate with some of the most important literary and intellectual
figures of the day. While a photographer for Time and Life magazines, she brought her documentary skills to her
photographs of the intelligentsia and literary stars of Paris in the 1930s. She felt that “my camera led me to pay special
heed to that which I took most to heart: a gesture, a sign, an isolated expression…gradually, I came to believe that
everything was summed up in the human face… For me, at least, studying my subjects first and knowing them
personally was essential to taking a good picture.” This attitude was central to Freund’s ability to take unguarded
photos such as Virginia Woolf pensively smoking; Colette staring aggressively at the camera; and James Joyce reading
his poetry with a magnifying glass. Freund was additionally unusual in having chosen to take color photographs while
most photography was still in black and white. This collection of photographs, all taken by Freund between 1938 and
1939, are of Colette, Virginia Woolf, André Gide, James Joyce, Adrienne Monnier, Jean Cocteau, Simone de Beauvoir,
Jean-Paul Sartre, André Malraux and Vita Sackville-West. Her photographs of Joyce and Woolf are particularly
notable, with copies residing in The National Portrait Gallery in London. Of the 36 copies produced, only 30 were, like
this copy, for sale to the public. A fine copy of this rare collection.

78
 lee friedlander

“History Stalks The Landscape At Every Turn”

75. FRIEDLANDER, Lee. The American Monument. New York, 1976. Two volumes. Volume I with 218 halftones
printed on heavy cream stock; Volume II with ten gelatin silver prints, each measuring 8 by 10 inches, matted with
heavy white card stock measuring 11-1/2 by 14-1/2 inches and hinged with linen cloth, each print signed and numbered
in black ink on the recto. Oblong quartos, original gilt-stamped brown morocco spines. WITH: Friedlander, Lee.
Fourteen American Monuments. New York, 1977. Slim oblong folio, original photographic self-wrappers, stapled as
issued; pp. 12.  $85,000.

Rare deluxe limited first edition, number 39 of only 50 copies bound by Moroquain in two volumes, specially reserved for
distribution by the photographer, with Volume I containing 218 halftones and Volume II featuring ten gelatin silver
prints—each print hand-numbered “XXXIX/L” and signed by Friedlander in black ink beneath the image, with laid-in
original 12-page booklet entitled Fourteen American Monuments, featuring select black-and-white photogravures.

“More than any other of his generation, Friedlander has shaped the face of contemporary photography” (New York Times).
“Twelve years in the making, The American Monument is almost maniacally inclusive, rounding up everything from
Plymouth Rock to a plaque commemorating the Pony Express in Salt Lake City and treating them all with the same
deliberate nonchalance. The result is overwhelming, as it clearly was intended to be. History stalks the landscape at every
turn” (Roth, 236). Poised at a key point in his career, Friedlander’s “American Monument is an encyclopedic lesson in how
to put a picture together. It is also a lesson in how to put a photobook together… Friedlander’s editing is brilliant” (Parr &
Badger II:38). American Monument was one of the first photobooks published by Eakins Press Foundation, “dedicated to
the finest standards in publishing and design. In Friedlander’s book they found both a photographer and a subject worthy
of their ambitions” (Parr & Badger II:28). Open Book 310. An exceptionally fine copy. Rare.

79
 lee friedlander

“I Always Wanted To Be A Photographer. I Was Fascinated With The Materials.

But I Never Dreamed I Would Be Having This Much Fun”
76. FRIEDLANDER, Lee and DINE, Jim. Work from the Same House. London, 1969. Slim quarto, original cream
paper wrappers. $2300.

First trade edition of the first book of photographs by Friedlander, signed by him on the half title. A collaboration between
Lee Friedlander and artist Jim Dine, with 16 photographic plates, 16 etchings, and one full-page photographic plate of
both artists.

Lee Friedlander’s work “burst into maturity in 1962,” when he awakened photography to a new playfulness, turning the
everyday and “familiar photographic errors into beguiling puns and puzzles” (MoMA). That desire to reinvent the ordinary
and to challenge the divide between art and artist found kinship in friend and artist Jim Dine, whose “The Smiling
Workman” (1960) and subsequent works shaped New York’s avant-garde throughout the 1960s. Friedlander and Dine
collaborated for seven years on this book. At that time Friedlander,
who has since produced over 20 books, could find no publisher, but
income from this work “gave him the chance to make his first book,
Self Portrait, in 1970” (MoMA). This edition was published
simultaneously with the limited edition of that portfolio. Interior
clean and bright; slightest soiling to covers of about-fine book. A
highly desirable signed copy.

80
 ernst friedrich

“Photography As Shock Therapy”

77. (FRIEDRICH, Ernst). Nie wieder Krieg! [No More War!] Amsterdam, 1929. Slim octavo, original illustrated
wrappers, stitched as issued; pp. 64. $2500.

First edition, a classic anti-war photobook published at a turning point in European history and in “the year
heralding the Great Depression” (Parr & Badger), containing 49 black-and-white
photogravures of modern war’s atrocities, images described by Susan Sontag as
“photography as shock therapy” (New Yorker).

Published in “the year heralding the Great Depression,” Nie wieder Krieg epitomized
the best of the decade’s “vernacular photography”—a work intended to “present the
facts and… bear witness” (Parr & Badger II:213, 210). Five years after the publication
of Ernst Friedrich’s Krieg dem Kriege!, the International Federation of Trade Unions,
using Friedrich’s once-banned photographs, added “its own particular political
point to the general anti-war message: that WWI was a consequence of empire
building and quarrels at the high tables of capitalism.” Cover illustration by Käthe
Kollwitz; text in six languages, including English. Bookseller stamp on title page.
Images clean and bright, some separation of rear signature, very lightest soiling to
original wrappers. Quite scare, in near-fine condition.

81
 paul fusco

“Those In Most Need Of Hope Crowded The Tracks Of Bobby’s Last Train,
Stunned Into Disbelief”
78. FUSCO, Paul. RFK Funeral Train. New York, 2000. Oblong quarto, original boards, dust jacket. $1100.

First trade edition, signed by Magnum photographer Paul Fusco in silver ink on the title page, with over 50 color plates of
Americans paying final tribute to Robert F. Kennedy.

“On Saturday afternoon, June 8, Kennedy’s body, as President Lincoln’s 103 years before, was carried by a funeral train
from New York to Washington. As they had for Lincoln, many thousands—perhaps, for RFK, a million people—lined the
tracks” (Evan Thomas). Magnum photographer Paul Fusco, then a
staff photographer for Look magazine, was on the train and took
spontaneous, often blurred photographs of the people waiting by
the tracks. “Like The Americans, Robert Frank’s seminal book of
1959, Mr. Fusco’s pictures show Americans in an off-kilter,
melancholy light. And like Mr. Frank, Mr. Fusco balances a
compassionate eye with a photojournalist’s lightning-quick instincts
for the telling picture” (New York Times). With Senator Edward M.
Kennedy’s eulogy to his brother, delivered Jun 8, 1968, along with
memorial essays by Norman Mailer and RFK biographer Evan
Thomas, afterword by Paul Fusco. First trade edition, preceded by
scarce special edition produced by The Photographer’s Gallery,
1999. A fine copy, scarce signed.

82
 allen ginsberg

“The Best Photos Provide A Similar Double Punch Of Intimacy And History:
Legends At Leisure” (Roth)
79. GINSBERG, Allen. Photographs. Altadena, 1990. Folio, original gray cloth, dust jacket. $3000.

First trade edition, boldly inscribed by Ginsberg “for Glen Davis, 11/18/96, OK to put ‘NSA Dope Calypso’ on yr
website. See Cosmopolitan Greetings. P.O.B. 582 Stuyvesant Sta. NY 10009 NY” beneath a large original drawing
of a flower, sun, moon and stars with his trademark “AH.”

Subjects in this collection of 91 large photographs

include Louis Auchincloss, Paul Bowles, Basil
Bunting, William Burroughs, Neal Cassady,
Gregory Corso, Lawrence Ferlinghetti, Jack
Kerouac, Ken Kesey, Timothy Leary, Louise
Nevelson, Peter Orlovsky, Lou Reed, Olga Rudge,
Yevgeny Yevtuchenko and others. With introduction
by Gregory Corso, short biographies and captions
by Ginsberg. There were 5000 copies of the first
trade edition and 100 signed and numbered copies.
In this flamboyantly inscribed copy Ginsberg
surmounts his large drawing of a flower with a sun
and moon, together with his characteristic
invocation of the Buddhist Milarepa mantra “AH,”
the sound for the beginning of creation. Roth, 266-
67. Fine condition.
83
 david goldblatt

“Indispensable First-Hand Records Of An Important Place And Time,

Buoyed By Persistent Grace”
80. GOLDBLATT, David. Particulars. Johannesburg, 2003. Square folio, original black cloth, dust
jacket. $2500.

Limited first edition, one of only 500 copies, with 27 finely screened black-and-white photographic plates, this
copy signed by renowned South African photographer Goldblatt on the half title.

“South Africa’s most distinguished photographer,” David Goldblatt was a pioneer in documenting the struggle
against apartheid in the 1950s. At a time when “it was extraordinary for anyone even to think of making
human photographs of nonwhites… Goldblatt was there” (New York
Times). Goldblatt’s work “has provided one of the broadest and most
objective records of the years of apartheid and the birth of a new South
Africa” (Parr & Badger II:114). His images exchange a view of “large or
terrible events [for]… the workplace, the home and the street, the way
people walked and sat, their postures and bodies, what they wore, how
they spent their leisure, under apartheid” (ArtForum). The quietly
profound photographs of a couple on a park bench, or the clasped
hands of a sleeping man, found here in Particulars, value best “those
in-between moments… [that] tend to be the most revelatory…
Goldblatt’s photographs are indispensable first-hand records of an
important place and time, buoyed by persistent grace” (New York
Times). A fine copy, scarce signed.
84
 david goldblatt

“A Sharp And Critical Eye”

81. GOLDBLATT, David. In Boksburg. Cape Town, 1982. Large square quarto, original black cloth, dust
jacket.  $2200.

First edition, signed by Goldblatt, with 73 subtle duotones of life in a white suburb of Johannesburg during
apartheid.

Winner of the prestigious 2006 Hasselblad Award, photographer David

Goldblatt has devoted his life to examining his native South Africa “with a
sharp and critical eye… [and] provided one of the broadest and most
objective records of the years of apartheid and the birth of the new South
Africa. In Boksburg is a classic example of his subtle method, a record of a
small town in the East Rand, chosen because it reminded him of Randfontein
in the West End, where he grew up” (Parr &
Badger II:93, 114). Scarce first edition,
published in cloth only; first issue dust
jacket with photograph on front panel is
one of two variants (the other shows text on
front panel), no priority established. An
exceptionally fine copy, scarce signed.
85
 paul graham

“Where Economic Decisions And Human Lives Meet Head On”

82. GRAHAM, Paul. Beyond Caring. London, 1986. Oblong quarto, original stiff laminated photographic
wrappers.  $2800.

First edition of “one of the key works defining the New Color Documentary in the UK” (Parr & Badger), featuring 33 color
plates.

“Influenced by Walker Evans, William Eggleston and the Bechers, Graham established his reputation with colour
photographs that portrayed contemporary Britain in an objective, documentary style… In 1986 he published Beyond
Caring, depicting Social Security offices across Britain. The series examined the degradation that accompanied the high
unemployment and harsh economic conditions of the Thatcher era” (Tate Modern). “Beyond Caring—is one of the key
works defining the New Colour Documentary in the UK… [and] proved highly influential. Graham shot these dole offices
in colour, in a surreptitious manner that seemed to place him both as a spy and as a protagonist” (Parr & Badger II:300).
First edition, issued in wrappers only and without dust jacket. A fine copy.

86
 paul graham

“Life Beyond The Headlines”

83. GRAHAM, Paul. A1-The Great North Road. Bristol, 1983. Oblong quarto, original stiff laminated photographic
wrappers.  $2500.

First trade edition of Graham’s breakthrough photobook, a signal work in the emergence of New European photography,
featuring 40 brilliant color plates.

With A1—The Great North Road, British photographer Paul Graham became recognized as a leading figure of New
European photography, where images move beyond photojournalism’s traditional focus on “the idea of significant events…
[to] tell another story bearing on life beyond the headlines” (Photobook, 184). By “beginning with local interest, then
gradually broadening his horizons, Graham took an approach that is exemplary of the current trend, which has created a
genuinely international photographic community… [and led to] the success of the photobook in the late 20th century”
(Parr & Badger I:55). For two years, from 1981-82, Graham traveled along The Great North Road that runs the entire length
of England. As Rupert Martin notes within, Graham’s photographs present a striking evolutionary turn to a perspective
shared by Walker Evans and others in the 1930s and reconfigured by Robert Frank in Les Américains (1958)—a way of
seeing the “road as a part of history… observing society from outside its bounds.” Scarce first trade edition, issued in
wrappers only and without dust jacket; published same year as a signed limited edition of 75 copies, no priority established.
A fine copy, quite scarce.

87
 philip jones griffiths

“The Best Work Of Photo-Reportage Of War Ever Published”

84. GRIFFITHS, Philip Jones. Vietnam Inc. New York, 1971. Quarto, original
stiff photographic wrappers. $1800.

First edition in softcover, with 266 “magnificent and heartrending pictures” (New
York Times) of the Vietnam War.

Henri Cartier-Bresson issued high praise for his fellow photographer, noting that
“not since Goya has anyone portrayed war like Philip Jones Griffiths.” The Welsh-
born Griffiths, who later served as president of Magnum Photo (1980-85), covered
the Vietnam War from 1966-68 and returned in 1970 to produce the “magnificent
and heartrending pictures” seen in Vietnam Inc. (New York Times), a work singled
out as “the best work of photo-reportage of war ever published” (Time) and “the
finest book to come out of the Vietnam War… a great work of humanist documentary
photography” (Parr & Badger II:250. First edition in wrappers, preceded only by first
hardcover edition, published the same year. With original small price sticker on
front cover. An exceptional, fine copy.

88
 rené groebli

The Essence Of “Train Travel, Particularly Speed And Movement”

85. GROEBLI, René. Magie der Schiene [Magic of the Rail]. Zurich, 1949. Square quarto, eight folded sheets loose as
issued, original wrappers. $3500.

Limited first edition, number 594 of 1000 copies self-published by Groebli, this copy vividly signed by him in green ink on
the title page, a landmark work exploring “new ways of making photobooks and integrating photographs more closely with
text and graphics” (Parr & Badger), with 14 rich heliogravures.

In Magie der Schiene, René Groebli captures “the experience of train travel, particularly speed and movement… He takes
a set of personal photographs investigating certain formal issues and turns them into an elegant photobook… The result is
a wholly integrated piece of work, with each element given equal importance. It is a superb example of the spare, clean,
international style of graphic design developed after the war… an extremely elegant mood piece” (Parr & Badger I:204).
The photographs of this Swiss-born photographer were featured in both the 1952 Subjektive Fotographie exhibit and the
1955 Family of Man exhibit at MoMA; “Groebli’s railroad photographs…
were ahead of their time” (René Schlachter). This rare signed copy from
the collection of acclaimed photojournalist Peter Turnley. With poem by
Albert Ehrismann and accompanying text in German (remaining 300
with English text). Without extremely scarce belly-band. Open Book,
152. An exceptionally fine copy, scarce signed.

89
 jan grużewski and stanislaw kopf

“The Most Heroic Insurrection The Nazis Ever Faced”

86. GRUŻEWSKI, Jan and KOPF, Stanislaw. DNI Powstania. Kronika Fotographiczna Walczacej Warszawy
[Photographic Chronicle of the Warsaw Resistance]. Warsaw, 1957. Folio, original gray cloth, dust jacket. $2500.

First edition of the first published collection of photographs from the 63-day Warsaw Uprising of 1944, with a five-line
inscription by co-editor Grużewski, written in Polish on the title page and dated 1958, a dramatic visual account, with
over 550 black-and-white rotogravures of the insurrection, most taken in secret by members of the Polish underground.

In August 1944, “40,000 members of the Polish underground Home Army spilled into the streets to liberate Warsaw from
its Nazi occupiers.” Hitler responded by ordering SS chief Heinrich Himmler to
“put down the rebellion and reduce the Polish capital to ruins: ‘We shall finish
them off,’ Himmler declared. ‘Warsaw will be liquidated’” (New York Times). What
followed was a battle lasting 63 days that ended with the death of over 200,000
civilians. During those two months of “the biggest, most heroic insurrection the
Nazis ever faced,” partisans who had previously infiltrated the German-operated
photo bureau Fotorys freshly assembled “some two dozen photographers… to
document the battle” from the frontlines (Guardian). This is the first published
collection of those photographs, containing riveting images of men, women and
children racing past machine-gun barricades and shooting from windows and
rooftops, as well as the photographic testimony of blasted buildings, gutted streets
and bombers overhead. With captions in Polish; afterwords in English, French
and German. Without extremely scarce slipcase. Images clean and bright, slight
wear to original cloth; some chipping, loss to edges and seams of extremely scarce
photographic dust jacket. A memorable, very nearly fine copy; scarce inscribed.

90
 dave heath

“What I Have Endeavored To Convey In My Work Is Not A Sense Of Futility And

Despair, But An Acceptance Of Life’s Tragic Aspects”
87. HEATH, Dave. A Dialogue with Solitude. New York, 1965. Tall quarto, original gray cloth, dust jacket. $9500.

First edition of Heath’s seminal work, one of the great photobooks of the 20th century, signed by the photographer on the
title page, with 82 vibrant duotone photographic plates.

“In 1965 A Dialogue with Solitude was published. It was, undoubtedly, the most
important book by a photographer to appear in the 1960s…[It] is structured around
people rather than ideas and things…Heath explores his own anguish as he responds
to the loneliness he witnesses in others. His photographs are more emotionally intimate
than those of either Evans or Frank. There is often less distance between the
photographer and the subject: people fill the frame” (James Borcoman). “The entire
book stands as a testament to the fact that man, at least through art, can rise above his
condition, can transform misery into beauty, loneliness into solitude” (Aperture).
Arranged in ten sequential sections, the work is in many ways “a self-portrait in which
the artist never really appears,” a visual story anchored by several photos Heath made
while serving in Korea in 1953, a year that he describes as his ‘defining moment’ as a
photographer” (Village Voice). Extremely scarce
first edition; signed copies are rarely seen. Book
exceptionally fine; light soiling, tiny ink mark to
image on front panel, some tape repair to verso of
extremely good, price-clipped dust jacket. A
beautiful copy, quite scarce signed.
91
 lewis hine

“Celebrates The Dignity Of Labour And That Most Modern Industrial Subject—
The American Skyscraper”
88. HINE, Lewis W. Men at Work. New York, 1932. Square octavo, original green cloth. $5000.

First edition of Hine’s only photobook published in his lifetime, inscribed, “To Herbert C. Ruckwick, Lewis W. Hine,” with
51 black-and-white photographs in his popular “celebration of the American worker,” depicting workers in factories, on
railroads and constructing New York’s Empire State Building.

“Considered an artist of the first rank, a prime mover for social justice… Lewis Hine changed the way Americans look at
social conditions” (McDarrah & McDarrah, 232). “Hine’s major and best-loved photobook… Men at Work celebrates the
dignity of labour and that most ‘modern’ industrial subject—the American skyscraper” (Parr & Badger, 117). The book
features dramatic, proud images of America at work, particularly highlighting the construction of the Empire State
Building in images that required Hine to have “himself suspended from the hundredth floor to film the workers” (McDarrah
& McDarrah, 232). As historian Alan Trachtenberg notes, Lewis Hine was one of the
earliest to bridge a gap between documentary photography’s reformist goals and a
removed formalist aesthetic. Excluding neither, Hine claimed simply that the
ultimate “art of photography lay in its ability to interpret the everyday world”
(America and Louis Hine). Open Book, 108. Without scarce dust jacket. Newspaper
clipping with marginalia affixed to rear free endpaper and card slot affixed to rear
pastedown. Scarce. Images clean and bright; slight toning to original cloth. Expert
restoration to spine.

92
 vladimir hipman

“Meaning In The Visible Structure Of Things”

89. [HIPMAN, Vladimir]. Menschenarbeit im Eisenwerke [Men at Work in Ironworks]. Prague, 1938. Square
quarto, original stiff paper wrappers. $2500.

First edition, a rarely seen photobook of the Neue Sachlichkeit (New Objectivity) movement, with 25 finely screened
black-and-white photogravures after images by Czech photographer Hipman shortly before WWII, a striking photo-
essay in the classic “‘heroic worker’ mode of the 1930s” (Parr & Badger).

Together with Lewis W. Hine in America and Albert Renger-Patzsch in Germany, “Vladimir Hipman [1908-76] in
Czechoslovakia… affirms a commitment to the working man. It is in the typical ‘heroic worker’ mode of the 1930s” that
Hipman created the dramatic images of Czech workers seen here in Menschenarbeit im Eisenwerke (Parr & Badger I:126).
An influential figure in the Neue Sachlichkeit (New Objectivity) movement, Hipman “sought to embody the modern era
in straightforward, documentary photographs of technological products… to localize meaning in the visible structure of
things” (Roth, 14). “The quality of the series of modernist photographs of factories… created in the 30s and 40s by the
unfairly neglected Vladimir Hipman remains unappreciated” (Photorevue). Here Hipman captured Czech workers in the
Oskar Federer ironworks of Moravská Ostrava, framing them against the glow of molten slag and furnace fires. Each
gravure plate printed full-bleed on heavy card stock, with original protective glassine. Cover by noted graphic designer
Hugo Steiner. Text in German. First edition, German issue; published coincident with Czech issue; issued without dust
jacket. A fine copy.

93
 takashi homma

“There Is An Eerie Quietness Here”

90. HOMMA, Takashi. Tokyo Suburbia. Kyoto, 1998. Thick quarto, original photographic stiff self-wrappers,
laminated thick card leaves. $1500.

First edition, the award-winning photobook by renowned Japanese photographer

Homma, with 60 vivid color photographs, many double page, printed on thick coated
stock, a glimpse into the lives of a generation raised in the sprawling, anonymous
world of Japanese suburbs.

The bold “color-saturated photographs” of Tokyo Suburbia, which unveil a world of

anonymous suburban streets and deserted, manicured lawns, earned Takashi
Homma the prestigious Kimura Ihee Award. Homma’s haunting photographs of
Japan’s newtowns, housing developments rapidly emerging outside large cities,
intersect with fleeting images of teenagers in arcades, parking lots and fast-food
restaurants, a photobook whose design “is both unusual and opulent” and whose
vivid images are “ambiguous enough both to intrigue us and keep us guessing” (Parr
& Badger II:306). “There is an eerie quietness here… these new towns produce many
young people just ‘waiting to snap’” (Tucker, 270). With scarce 20-page accompanying
booklet, including essays by Momoyo Kaimima and Shinji Miyadai; text in Japanese
and English. A fine copy.

94
 emil otto hoppé

“Full Flamboyant Modernist Mode”

91. HOPPÉ, Emil Otto. Deutsche Arbeit [German Industry]. Berlin, 1930. Quarto, original half gray cloth, dust
jacket.  $2800.

First edition of this influential Weimar photo-essay on German industry, “one of the few photobooks to feature a reversible
jacket” (Parr & Badger), with 92 finely screened, sepia-toned plates.

Emile Otto Hoppé (1878-1972) was renowned for his “restless experimentation,
his role in helping found the London salon of Photography and his 19 books” of
portraiture and documentary photography (DNB). Hoppé’s Deutsche Arbeit
highlights a “period in German industry when the modernist approach was at its
height, and the German economy and industry were in a desperate situation prior
to the fall of the Weimar government and the triumph of the Nazis… The sepia-
toned plates of Hoppé’s photographs being immediately distinctive… Deutsche
Arbeit bursts into full flamboyant modernist mode in the shape of its jacket—not
once, but twice, for this is one of the few photobooks to feature a reservible jacket.
On one side is one of Hoppe’s more dynamic photographs, a close-up of a ship’s
propeller, while the other side features a striking graphic design of belching
factory chimneys” (Parr & Badger I:125). Text in German by Bruno Bürgel. One-
page advertisement at rear. Contemporary owner signature. Images quite fresh;
some soiling, chipping with moderate loss to spine ends of bright, scarce dust
jacket. A unique photobook in extremely good condition.

95
 eikoh hosoe

“Abnormal, Warped, Sarcastic, Grotesque, Savage, And Promiscuous”

92. (HOSOE, Eikoh) MISHIMA, Yukio. Killed by Roses. Barcelona, 1963. Folio, original pictorial cloth,
glassine, slipcase.  $7500.

Signed limited first edition, scarce Spanish issue, number 388 of 1500 copies signed by Hosoe and Mishima.

“The photos that make up the body of the book are inky, sometimes high-contrast gravures that bleed right
to the edge of the page and often extend across the entire open spread, giving extra impact to images that are
already quite arresting. Even if the subject of Hosoe’s photographs weren’t the author Yukio Mishima, the
book would be remarkable for its humid mix of eroticism and myth, queer kitsch and high art. But Mishima,
Japan’s most celebrated and controversial modern novelist, was also a brilliant provocateur and his presence
here turns Killed By Roses into a charged collaboration between artists testing one another’s limits” (Roth,
164). Spanish issue, concurrently released with the Japanese issue, with the Spanish title, Muerto par las
Rosas, on slipcase and an explanatory pamphlet in Spanish laid in. Text and photographs clean and fine,
slightest rubbing to original cloth and corner-clipped acetate and light wear to publisher’s slipcase, markedly
less than usual. An about-fine copy of a very scarce and important volume.

96
 eikoh hosoe

“The Dialogue Between Men And Women”

93. HOSOE, Eikoh. Hoyo [Embrace]. Tokyo, 1971. Folio, original black cloth, dust jacket, slipcase with paper wrap-
around.  $2500.

First edition of Hosoe’s photo-essay on “the dialogue between men and women,”
with over 70 black-and-white photogravures and a preface by Hosoe’s friend and
collaborator Yukio Mishima.

Published in 1971, a year after Mishima’s dramatic suicide, Embrace is a continuation

of Hosoe’s ongoing explorations of the male and female bodies. It focused, like his
earlier collections Man and Woman and Killed by Roses, “on the dialogue between
men and women and extracted the essence of life by cleverly abstracting the flesh.
The images are erotic, but not affectionate and show physical angst, the struggle of
the genders. Hosoe’s camera never captures the bodies from a dominant angle,
therefore, the series of works in this exhibition are not merely expressing the bodies
of the opposite sex, but are depicting the discovery of the equal and diverse
relationships, such as the dialogue” (Galleria Carla Sozzani). Hosoe “had a particular
talent for making exciting books” (Parr & Badger, 5). Text in Japanese. A fine copy
of one of Hosoe’s most magnificent works.

97
 roy decarava and langston hughes

“One Of The Most Successful Collaborations Between A Great Writer And A Great
Photographer Ever Published”
94. HUGHES, Langston and DECARAVA, Roy. The Sweet Flypaper of Life. New York, 1955. Small octavo, original
photographic and textual paper wrappers. $5200.

First edition, inscribed on the inner wrapper by Hughes, “Especially for

Steve ----, Sincerely, Langston, New York, May 3, 1959, at the Village Gate,” and
further signed by Roy DeCarava alongside, a landmark collaboration featuring
Hughes’ lyrical text and 141 engaging photogravures by DeCarava.

Roy DeCarava is considered “the spiritual “father’ of much contemporary

African American photography” (New York Times). Hughes, already
“acknowledged as the most influential black writer of his generation, and as one
of the greatest American poets of all time, here
composed a fictional story to accompany DeCarava’s
images, creating a lyrical tale about imaginary
characters to go with photographs of real people”
(Roth, 138). “An important step forward” in the
history of photobooks (Parr & Badger II:242). “One of
the most successful collaborations between a great
writer and a great photographer ever published” (Roth,
138). Scarce preferred first edition in wrappers with
text beginning on front wrapper, text block on page 3;
published same year as first cloth edition. Open Book,
160. Images fresh and clean, only lightest edge-wear to
spine of bright, unrestored wrappers. A near-fine copy,
quite scarce inscribed.

98
 yasuhiro ishimoto

“A Body Of Work That Was Different In Both Style And Approach”

95. ISHIMOTO, Yasuhiro. Chicago, Chicago. Tokyo, 1969. Oblong quarto, original full black cloth, slipcase. $3500.

First edition of Ishimoto’s survey of 1960s urban life in Chicago, with over 200 black-and-white photographic images.

“At a time when most of the leading Japanese photographers were actively caught up in their country’s volatile political
situation, Ishimoto seems deliberately to have maintained his distance, declaring his independence with a body of work
that was different in both style and approach…Chicago, Chicago confirms this singularity and the promise shown in his
earlier Aruhi Arutokoro. The later book demonstrates a photographer influenced by both Japanese and American sources
and adopting neither wholeheartedly… It is arguably more completely realized, thematically tighter than Aruhi Arutokoro…
Its old-fashioned, humanist virtues are considerable” (Parr & Badger, 289). Contains a foreword by Harry Callahan, an
introduction by Shuzo Takiguchi, and notes by Yusako Kamekura, all in English and Japanese. Book about-fine, slipcase
with some foxing and light restoration. A beautiful copy of a scarce book, in original slipcase.

99
 lotte jacobi

“I Was Born To Photography”

96. JACOBI, Lotte. Portfolio I. Deering, New Hampshire, 1978. Large folio (15 by 19-1/2 inches), ten silver
gelatin photographs (variously measuring from 6 by 8 inches to 7 by 9 inches), loose as issued, each matted
(measuring 14 by 18 inches), four original uncut leaves printed on recto, loose as issued, housed in original gray
linen clamshell box.  $22,000.

Limited artist’s proof portfolio, number four of only five copies, a rare self-published edition containing ten silver
gelatin hors commerce proofs, each signed and numbered in pencil by Jacobi on the lower corner of the image,
featuring some of her finest portraiture from before 1940, including her trademark Self-Portrait, her famous
image of Einstein in a leather jacket and portraits of leading figures such as Alfred Stieglitz, Peter Lorre and
Kurt Peter Lorre.

Lotte Jacobi’s memorable images of the famous came to define modern photographic portraiture. Of this
portfolio’s ten original silver gelatin photographs, each an artist’s proof signed and numbered by Jacobi, eight
were taken in Germany before she fled the Nazis in 1935, and two were taken shortly after her arrival in America.
One especially famous photograph shows a rumpled Albert Einstein in his leather jacket, another captures
actress Lotte Lenya in a seductive portrait that became Jacobi’s own personal favorite. Jacobi’s 1939 tribute to the
influential Alfred Stieglitz, taken in New York, is one of the few that captures him with a genial smile. Jacobi’s
trademark 1930 Self-Portrait provides a rare glimpse of this artist who rarely allowed herself to be seen on film.
Number four of only five copies, with ten hors commerce proofs printed in 1978, each photograph signed by
Jacobi, matted and numerically stamped on the mat. A rare folio portfolio; published simultaneously with a
limited edition of 25 numbered copies. A fine copy.

100
 cornell capa, werner braun and ernst haas

“Work That Will Contribute To The Understanding Or The Well-Being Of Humanity”

97. (JERUSALEM) CAPA, Cornell, ed. Jerusalem. City of Mankind. New York, 1973. Folio, 12 mounted photographic
prints, each measures approximately 9 by 14 inches, each in captioned paper folder, 12 folders loose as issued in original
red cloth and cardboard portfolio with mounted cover illustration; entire piece measures 14-1/2 by 18 inches. $9500.

Signed limited edition, number 76 of only 115 copies (15 of which were reserved
for the photographers) of this stunning portfolio of 12 photographs of Jerusalem
by renowned photographers Werner Braun, Cornell Capa, Marc Riboud (two
images), Ernst Haas, Micha Bar-Am, Robert Burroughs, Leonard Freed, Charles
Harbutt, Ron Havilio, Bhupendra Karia and Ted Spiegel. Each photograph
signed and numbered by the photographer in pencil on the mount.

“Cornell Capa always had a special talent for phrasing important concepts: he
coined the phrase ‘Concerned Photographer’ in the early 1970s, meaning a
photographer who is passionately dedicated to doing work that will contribute
to the understanding or the well-being of humanity” (Magnum). This work
was published by the International Fund for Concerned Photography in 1973
and contains works by an array of prominent photographers. With five black-
and-white and seven color photographs. Rear inner paper hinge split only
partially, binding sound. Fine condition, a beautiful production.

101
 allan kaprow

“One Of The Grand Antiheroes Of Contemporary Art”

98. KAPROW, Allan. Assemblage, Environments & Happenings. New York, 1966. Large square quarto, original
stamped brown burlap, acetate dust jacket.  $2200.

First edition, signed by Kaprow on verso of the first leaf, opposite a photograph of him at a 1960 “Happening,” an impressive
and massive photobook with numerous photogravures featuring artists such as Claes Oldenburg, George Segal, Jim Dine
and Robert Rauschenberg, together with images of works by the Japanese Gutai Group.

Allan Kaprow, “an artist who coined the term ‘happenings’ in the late 1950s and whose anti-art works contributed to
radical changes in the course of late 20th-century art,” was a leading member—with artists George Segal, Jim Dine and
Claes Oldenberg—of a group whose performance works were signally influenced by John Cage’s “reliance on chance as an
organizing, or disorganizing element in art… One of the grand antiheroes of contemporary art… Kaprow’s influence does,
in fact, live on” (New York Times). Scarce first edition with original acetate, featuring numerous images of art works by
Kaprow, Segal, Dine and Oldenburg, with photographs taken by Oldenburg, Robert McElroy, Peter Moore and others. Text
and design by Allan Kaprow. Title page appears at book’s center. Open Book, 222. Bookplate. Text fine, trace of label
removal to front pastedown; lightest edge-wear to original acetate. An about-fine copy, scarce signed.

102
 andré kertész

“The Beauty Of The World And The Preciousness Of Sight”

99. KERTÉSZ, André. André Kertész. New York, 1977. Square octavo, original boards. $2000.

First edition, with 82 beautiful black-and-white photographs, signed by Kertész on the title page.

“One of the most influential photographers of the 20th Century… Andre Kertész helped change the way photographers
and picture magazines look at the world and defined the use of the hand-held camera” (New York Times).

Part of the Aperture History of Photography Series. “In a career that spanned 70 years, Kertész created images of ordinary
life in a style without pretension. He changed the way photographers and picture magazines looked at the world and
defined the use of the handheld camera” (McDarrah, 257). “There is in the work of Kertész another quality less easily
analyzed, but surely no less important. It is a sense of the sweetness of life, a free and childlike pleasure in the beauty of
the world and the preciousness of sight” (Szarkowski, 92). With an invitation to a gallery preview of Kertész’s work laid in.
Fine condition.

103
 ihei kimura

“A City Of Crumbling Textures And Decaying Structures,

Of Courtyards And Back Alleys, Of Autumnal Mists and Winter Gloom”
100. KIMURA, Ihei. Paris. Tokyo, 1974. Tall octavo, original white cloth, slipcase. $4200.

First edition of this significant work by one of Japan’s most important photographers, with 309 pages of photographic
plates.

Ihei Kimura was “Japan’s leading photographer of the immediate postwar period, and
represented the dominant photographic aesthetic of that era: social documentary
based on a broadly humanistic approach… Paris was photographed during three visits
to the city in 1954, 1955 and 1960, although the book was only published in 1974, the
year of the photographer’s death… most of it was shot, in color, in the 1950s. When
photographed, it was well ahead of its time… Paris is notable for two things. Firstly, it
has a distinctive color palette, composed of cool blues, grays, browns and purples.
Secondly, there is Kimura’s view of the city itself, which teeters between conventional
travel photography and something much more original… Kimura’s Paris, like Atget’s,
is a nostalgic one, a city of crumbling textures and decaying structures, of courtyards
and back alleys, of autumnal mists and winter gloom. Aided by his color palette, it is a
much more romantic vision than Atget’s unsentimental view, but his book nevertheless
has a distinctive voice that takes him beyond mere romanticism” (Parr & Badger I:268,
297). Text in Japanese. Photographs, cloth, and slipcase beautiful and fine. A lovely
copy of the photographs of one of Japan’s most notable photographers. Rare.

104
 william klein

“Matchless, A Time Bomb That’s Never Been Defused”

101. KLEIN, William. Life is Good and Good For You in New York. Milano, 1956. Quarto, original white cloth, original
pamphlet bookmark. $7500.

First edition, Italian issue, of Klein’s “magnum opus” (Parr & Badger), the first of his celebrated four “city” books, inscribed
on the page opposite the title page, “To ----, Happy New York! With all best, William [line drawn] William Klein Paris
2005,” with 188 black-and-white photogravures and scarce original 16-page booklet in Italian.

Klein had been living and painting in Paris for six years when he returned to his native New York in 1954. He set off on an
eight-month photographic odyssey, discovering the medium of photography as we went about rediscovering the city. “All
the sights and sounds I missed or had forgotten or never even knew suddenly moved
me very much.” “Improvising, thriving on accidents and surprise, Klein turned out
raw, kinetic and utterly original photographs—each one a gut reaction to the energy
and excitement of the city street… Published in France, Italy and England, but not
in America, Life is Good was a sensation... No two pages were alike; full-bleed images
were followed by white-bordered pictures set on black pages; a stack of small photos
was set next to a shot so big it straddled the gutter… New York remains matchless, a
time bomb that’s never been defused” (Roth, 140-41). “William Klein’s magnum
opus… this greatest of 1950s photobooks by a native American was never published
in the United States… New York is a quintessential monument to the American
cultural scene of the 1950s” (Parr & Badger I:235-6, 243). First edition, Italian issue,
published same year as issues in French and English. Text in Italian, French and
English. Open Book, 164. Book fine; light edge-wear, minimal tape reinforcement to
verso of bright dust jacket.

105
 william klein

“Rome Sweet Rome”

102. KLEIN, William. Rome: The City and Its People. Paris, 1959. Tall quarto, original black cloth, dust jacket. $7000.

First edition, French issue, the second volume in Klein’s acclaimed series of four “city” books, inscribed “To ----, ROME
SWEET ROME, en toute amitié, William [line drawn] William Klein Paris 2005,” with over 130 vivid, high-contrast
heliogravures (many double-page), scarce in original dust jacket.

According to Fellini, “this is the best Rome there is and Klein is the best photographer there is. He knows Rome like a book
and this is it.” “Cheesy, delirious, pure Pop art,” William Klein’s Rome continues the “raw, kinetic and utterly original”
innovations of Life is Good (1956) (Roth, 140-41). His genius resides in an unerring
ability to remind “us that much great, serious art is often about play, achieved
simply by experimenting with the possibilities of the material. Forget trance and
witness—the revels are the thing” (Parr & Badger I:243). Rome is the second volume
in Klein’s “city” series, “four books of photography which shook the very roots of
this medium’s young tradition… filled with raw, grainy, swirling yet abrupt images,
which visually describe these cities in a manner never previously seen before”
(Christian Sciene Monitor). First edition, French issue; London, New York and
Rome editions published same year. Text in French. Open Book, 178. See Icons of
Photography, 120. Images clean and fresh, front inner paper hinge starting but
sound; some chipping with loss to edges of bright, unrestored dust jacket. An
exceptional copy in extremely good condition.

106
 william klein

“The Cold War Not So Cold!”

103. KLEIN, William. Moscow. New York, 1964. Small folio, original white cloth, dust jacket. $5500.

First edition of Klein’s Moscow, one of the final photobooks in his groundbreaking series on four cities, warmly inscribed
on the half title, “To ----, The Cold War not so cold! très amicalement! William Klein,” featuring over 125 bold black-and-
white photogravures, many full-bleed, double-page.

“One of the most important photographers of his generation,” William Klein began his career in 1956 with Life is Good—the
first volume in his landmark four-city series. It was a time when many of
photography’s rules got broken, and “Klein broke more of them, and earlier, than
almost anyone else.” With that first revolutionary work and the landmark “city”
photobooks that followed—Rome (1960), Moscow (1964) and Tokyo (1964), it
became clear that “Frank’s esthetic is most tellingly revealed in his books, which he
designed to the last detail. Aggressively laid out and
syncopated like good jazz, they move forward like
movies edited by a cagey collagist” (New York Times).
Divided into four sections—Moscovites, Privileged
Classes, Parks and Palaces, Streets; with captions and
preface by Harrison E. Salisbury. Scarce in original
jacket. Open Book, 204. See Roth, 140. See Parr & Badger
I:243. Images clean and fresh; bright original dust jacket
with two oblique closed tears, expert tape repair to
verso of rear panel. A near-fine copy.

107
 william klein

“Raw, Kinetic And Utterly Original Photographs”

104. KLEIN, William. 1 Citta & i Mondiale = Torino ‘90. Milan, 1990. Folio, original black paper-covered boards, dust
jacket.  $4500.

First edition of Klein’s photobook capturing the fury and passion of the 1990 World Cup soccer championships, boldly
inscribed on the half title, “To ----, Torino 90, très amicalement, William [drawn line]
William Klein, Paris, 2005,” with 80 full-bleed, double-page black-and-white
photogravures of “raw, kinetic and utterly original photographs” (Roth).

When the 1990 FIFA World Cup soccer matches took place in Italy, the Italians were
considered favorites, but after losing to Argentina, the defending champions finished
third. Attracted to the passions of both players and fans, William Klein brought his
trademark improvisational approach to the drama of the event, turning out the kind
of “raw, kinetic and utterly original photographs” that first
brought him to international attention in 1956 with Life is
Good (Roth, 140). In a style ever playful, edgy and “fashionably
manic” (Parr & Badger I:237), Klein captured crowd reactions
to both live and televised matches. Text by Guy Mandery in
Italian. See Roth 140-41; Parr & Badger I:243. Book fine;
lightest edge-wear to bright dust jacket. An exceptional,
about-fine copy, with a distinctive association.

108
 josef koudelka

“Getting Down To Things Eye To Eye—

Openly, Without Arrogance Or Condescension”
105. KOUDELKA, Josef. Gitans. La Fin Du Voyage [Gypsies. The End Of The Journey]. Paris, 1975. Oblong
quarto, original brown cloth, dust jacket. $5800.

First edition, scarce French issue of Koudelka’s first photobook, the work that “sealed Koudelka’s reputation”
(Parr & Badger), boldly signed by Koudelka on the title page, featuring 60 powerful black-and-white
photogravure plates.

“It was through Gitans that Josef Koudelka first became known in the Western world… His work with the
gypsies, conducted between 1962 and 1970, played a decisive,
although by nature unpredictable role in the formation of Koudelka
as a photographer… a human symbiosis provoked by a camera”
(Frizot, Koudelka, 65-66). Published simultaneously in France by
Delpire and under the title of Gypsies in America (Aperture),
Koudelka’s Gitans “sealed his reputation as one of the finest
photographers still utilizing the humanist documentary mode”
(Parr & Badger II:230). “Koudelka shares a “darkly romantic view
of the world pioneered by Andre Kertesz, Henri Cartier-Bresson
and Robert Frank” (New York Times). Here is a vision both
“melodramatic and tragic, serious in the best sense of the word”
(Parr & Badger II:230). Text in French; preface by Robert
Delpire, afterword by Willy Guy. See Open Book, 304. Images
clean and fresh, minute underlining to one word of text
(Afterword); lightest edge-wear to bright photographic dust
jacket. An extraordinary signed copy in about-fine condition.
109
 josef koudelka

“The Most Potent And Powerful Photographer Alive Today”

106. KOUDELKA, Josef. Exiles. London, 1988. Oblong quarto, original brown cloth, dust jacket. $6000.

First edition of Koudelka’s award-winning photobook, boldly signed by him on the title page, with 61 full-page black-and-
white photogravures, “a turning point in Koudelka’s work.”

Writing of Koudelka’s award-winning Exiles, novelist Dominique Eddé noted, “I believe that there are some true artists in
photography, and that Koudelka is one of them… Here, it is not only humanity, but reality as a whole that is in exile.
Outside of the law, outside of time, as in a dream. A landscape without a country, without an age, where no two ways of
seeing are ever the same” (Koudelka, 153). “Exiles is a definite turning point
in Koudelka’s work and subjects… [a] very powerful and idiosyncratic
vision” (Afterimage). One of the 20th century’s finest photographers, the
work of Koudelka is “melodramatic and tragic, serious in the best sense of
the word (Parr & Badger I:230). “Koudelka is the most potent and powerful
photographer alive today. His black-and-white photographs are so highly
charged, so strong in their visual impact, and so haunted that they defy
description with the makeshift scenery of words” (British Journal of
Photography). Winner of the ICP award for Outstanding Photographic
Book; first edition published simultaneously in Paris (as Exils) and New
York. With essay by Nobel laureate Czeslaw Milosz.
Bookseller ticket. A memorable copy in fine
condition.

110
 josef koudelka

“A World Of Muted Sound And Obvious Devastation”

107. KOUDELKA, Josef. The Black Triangle—The Foothills of the Ore Mountains. Fotograpfie 1990-1994. Prague,
1994. Oblong quarto, original stiff gray wrappers, slipcase. $4200.

First trade edition, Koudelka’s breathtaking vision of industrial devastation, boldly signed by him on the title page, above
his characteristic asterisk, a distinctive volume of 76 accordion-fold pages with 34 double-page panoramic duotone
plates—“an exquisitely made book” (Parr & Badger II).

Josef Koudelka here returned to the medium-format panoramic camera he first used in the 1980s. In The Black Triangle,
Koudelka has created a majestic sequence of 34 panoramic duotone plates, “a world that lies somewhere between
Shakespeare’s King Lear and Alfred Jarry’s Ubu Roi. It is a world of muted sound and obvious devastation seen and told by
an extremely opinioned and almost obsessive eye whose fascinated and fascinating quest follows a manic spiral… Of his
images of the Ore Mountains Koudelka said… ‘In that wounded landscape I find an untamed beauty. Strength. The struggle
of survival… In that landscape you can see how strong Nature is. That it is stronger than Man. That it cannot be destroyed’”
(Afterimage). “This volume is a passionate plea for the environmental cause… these are rich, dark-toned and sumptuous
photographs… an exquisitely made book” (Parr & Badger II:74-5). Introduction in Czech, English and French. Issued same
year as limited folio edition with images printed on single pages, no priority established. A fine copy, scarce signed.

111
 josef koudelka

“Both Grandeur And Poignancy”

108. KOUDELKA, Josef. Reconnaissance-Wales. Cardiff, Wales, 1998. Oblong quarto, original black cloth spine, stiff
gray boards.  $3500.

First edition of this scarce monograph, boldly signed by Koudelka on the title page, with 16 “rich, dark-toned and
sumptuous” panoramic duotones of South Wales (Parr & Badger) displayed in a continuous array of accordion-fold
leaves.

These 16 double-page duotones of the Welsh countryside, taken during a 1997-98 commission from Cardiff Bay Arts Trust,
are “presented in a long, continuous accordion fold. The large format suits the scale of these images well, while the subject
suits the romanticism that is always present in Koudelka’s work” (Parr & Badger II: 75, 202). As noted in the introduction
by critic Derrick Price, only Koudelka invests landscapes, often isolated and industrialized, with such a “monumental
quality… in a way which lends them both grandeur and poignancy.” First edition, a limited run of 1,000 copies published
in conjunction with the first one-person exhibit held at the National Museums and Galleries of Wales, Cardiff. Issued
without dust jacket. See Open Book, 304. A fine, highly desirable copy, scarce signed.

112
 josef koudelka

“Heart-Stopping Revelations Where There Seems To Be Nothing”

109. KOUDELKA, Josef. Limestone. Paris, 2001. Oblong quarto, original boards, shipping container. $3200.

Limited first edition, number 95 of 500 copies, with 36 expressive photogravures offered in accordion-fold panoramas that
“take the breath away” (New York Times).

Joseph Koudelka, the award-winning Magnum photographer, has earned a reputation for images that “take the breath
away… heart-stopping revelations where there seems to be nothing, nothing: a tree rudely cuts into the atmosphere,
tractor tracks rupture the earth’s skin” (New York Times). In Limestone, this “powerfully original photographer,
possessed by a frenzied desire to see” (Frizot, 631), offers 36 evocative photogravures, the work of two years spent
photographing limestone quarries in the United States and Europe. It is “a large, handsome production, which features
the photographer’s panoramas presented in a long, continuous accordion fold… Here, Koudelka gives full reign to
these tendencies to make brooding pictures that emphasize the quarrying of limestone not as rape, but as a noble and
civilizing act” (Parr & Badger II:202). Text in French, English and German. Without dust jacket, as issued; with
original clamshell shipping container. A fine copy.

113
 germaine krull

“At The Forefront Of Radical Modernism”

110. KRULL, Germaine. 100 X Paris. Berlin, 1929. Quarto, original stiff wrappers, dust jacket. $3500.

First edition, Krull’s pioneering photobook of Paris in the 1920s, with 100 sepia-toned photogravure plates, including
luminous views of the Eiffel Tower, Notre Dame, crowded street markets and Parisians strolling on the Bois de Boulogne.

“In the 1920s, Man Ray told Krull, ‘Germaine, you and I are the greatest
photographers of our time, I in the old sense and you in the modern one’”(Roth,
46). Positioned “at the forefront of radical modernism… Germaine Krull (1897-
1985) worked in Berlin, Russia, Holland and Paris during the 1920s… Her views
of industrial structures in Holland and Paris—including as a leitmotif that icon of
modern engineering, the Eiffel Tower” reveal a photographer whose vision sought
ever new horizons for the medium (Parr & Badger I:78, 95). As noted by her
biographer Kim Sichel, “Krull’s greatest contribution as a photographer is the
industrial, geometric abstractions that she did in Holland and France in the 1920s,
the work for which she is best known… Her pioneering street work” in Paris
(Germaine Krull) and her “euphoric view of industrial production”—as seen here
in 100 X Paris—vividly affirm Krull’s lasting influence on photography’s romance
with the modern city (Open Book, 18). Captions in French, German and English
First edition in wraps, published same year as cloth, no priority established; with
extremely scarce original dust jacket. Images clean and bright, lightest foxing to
original wrappers; small closed tears, slight soiling to scare photographic dust
jacket. A classic work in early 20th century photography, near-fine.

114
 koïchir kurita

“While Much Of The World Seems Clamorous, Messy And Despoiled,

The View In Kurita’s Photographs Is Quiet And Still”
111. KURITA, Koïchiro. Le Mouvement du Monde. Paris, 2001. Small oblong folio, original wrappers, three
loose accordion-folded signatures of four photographic plates each and six loose signatures of text as issued,
glassine, slipcase.  $2200.

Signed limited first edition, number X of only 30 copies signed in pencil by the photographer, Koïchiro Kurito and
the author of the poetic text, Lorand Gaspar. With a photographic print inscribed in pencil on the verso: “Le
Mouvement du Monde. ‘Autumn pond’ Cape Cod. Mass Oct’ 94. X/XXX K. Kurita.”

This beautifully printed work was published in conjunction with Kurita’s Hydrosphere exhibition at the Galerie
Camera Obscura in Paris, which took place between May and June 2001. In a contemporary review, Margarett Loke
wrote, “While much of the world seems clamorous, messy and despoiled, the view in Koïchiro Kurita’s photographs
is quiet and still, its slight irregularities adding subtle drama to an otherwise pristine landscape… His platinum
prints, made on handmade Japanese rice paper, have the kind of
breathtaking tonal range that Paul Strand had deemed impossible…
Wherever he goes, Mr. Kurita finds understated lyricism” (New York
Times). “I believe that in nature, the smallest things, or seemingly most
insignificant phenomena, have their reason and their role” (Koïchiro
Kurita). Text in French. Published simultaneously with a limited edition
of 250 unsigned copies not containing an additional signed photograph.
Fine condition.

115
 jacques-henri lartigue

“One Of The Most Celebrated Photographers Of The Century”

112. LARTIGUE, Jacques-Henri. Boyhood Photos of J.-H. Lartique. The Family Album of a Gilded Age. Lausanne,
1966. Oblong quarto, original burgundy leatherette gilt. $1500.

First edition in English, Lartigue’s magical chronicle “of an optimistic age” (Roth), with over 150 tipped-in
photogravures.

“Jacques-Henri Lartigue’s love affair with photography began in

1901, when he was seven years old… But his fame was not confirmed
until 1963, when New York’s MoMA mounted the first major
exhibition of his sepia and black-and-white photographs… One of
the most celebrated photographers of the century.... Lartigue’s works
reflect a unique mix of freshness, play and the absurdities of the
human condition” (New York Times). To MoMA curator John
Szarkowski, “Lartigue was a photographer of marvelous talent. He
caught memorable images out of the flux of life with the skill and
style of a great natural athlete—a visual athlete to whom the best
game of all was that of seeing clearly” (Looking at Photographs, 66).
From the collection of award-winning photojournalist Peter Turnley,
signed by Turnley. First edition in English, preceded the same year by
the first French edition. Issued without dust jacket. A fine copy.

116
 clarence john laughlin and david l. cohn

“Like A Shy But Sapient Woman Who Conceals Not To Mystify But To Beguile”
113. LAUGHLIN, Clarence John, and COHN, David L. New Orleans and Its Living Past. Boston, 1941. Large quarto,
original rose cloth, slipcase. $2500.

Signed limited first edition of Laughlin’s revealing photographs of “the psychic interior” of this “secret city,” number 192 of
1030 copies signed by Laughlin and Cohn, with 63 rich full-page photogravures of obscure architectural details.

“Surrealist photographer Clarence Laughlin produced disturbing yet beautiful images taken in New Orleans. His work
combines abstractions, still-life, multiple exposures, and architectural images in a mysterious, entirely original way”
(McDarrah, 272). Laughlin once called his style “the third world of
photography”—what Fritz Gruber later labeled “the psychic interior” (see
Frizot). Laughlin placed emphasis “on the bizarre underpinnings of normal
life… which have historically been a strong and original mode of expression
in the Southern part of the United States” (Frizot, 667). These images were
exhibited in 1940 beside Atget’s photographs of Paris. With a 32-page essay
on New Orleans history and culture by David Cohn. Copy number inked
on slipcase label. Book fine. Expert restoration to original slipcase. A
beautiful copy.

117
 helmar lerski

“A Singular Figure In Photographic And Photobook History” (Parr)

114. LERSKI, Helmar. Köpfe des Alltages unbekannte Menschen [Everyday Heads of Unknown People]. Berlin, 1931.
Tall quarto, original flexible black cloth, dust jacket.  $6200.

First edition of Lerski’s first photobook, with 80 dramatic photogravures by this pioneer of Weimar photography and
German Expressionist cinema. Scarce in the original dust jacket.

After the Swiss-born Helmar Lerski began his career in America as a stage
actor, he returned to Europe in 1915, where he helped define German
Expressionist film through his cinematographic contributions to masterpieces
such as Fritz Lang’s Metropolis (1927). As a still photographer and portraitist,
Lerski also became “a key influence on Germany’s Neue Sachlichkeit or New
Objectivity movement” (Roth, 68), and a pioneering figure whose work was
showcased at the influential 1929 “Film und Foto” exhibition. In Köpfe des
Alltages, his first photobook, Lerski’s close-ups of anonymous working-class
people are lit with a distinctive Expressionist theatricality, creating an effect
that “is eerie and transfixing” (Roth, 68). With Germany on a path toward
fascism, Lerski immigrated to Palestine one year after the publication of Köpfe
des Alltages to continue his work in portraiture and cinema. Introduction by
Curt Glaser, text in German. First edition, in spiral-bound full cloth, with
exceptionally rare original dust jacket. Open Book, 98. Book fine with bright,
fresh images; scarce, extremely good dust jacket with tape reinforcement to
verso, some chipping with loss to upper edge of rear panel and affecting
several letters of spine title.

118
 helmar lerski

An “Alternately Harsh And Beatifying Light”

115. LERSKI, Helmar. Der Mensch Mein Bruder [Mankind. My Brother]. Dresden, 1958. Folio, original tan cloth, dust
jacket.  $2800.

First edition, a compelling retrospective tribute published shortly after Lerski’s death, with 79 silvery photogravures by this
“key influence on Germany’s Neue Sachlichkeit”—a pioneering figure whose “eerie and transfixing” Expressionist style
(Roth) made him a leading Weimar cinematographer and portrait photographer. Scarce in original dust jacket.

“A key influence on Germany’s Neue Sachlichkeit or New Objectivity movement”

(Roth, 68), the Swiss-born Helmar Lerski was also a pioneering “stills
photographer, special-effects director and cameraman on a number of
masterpieces of German expressionist film in the 1920s.” As seen here in this
scarce retrospective tribute published shortly after his death, “Lerski’s still
photography consisted mainly of portraits… Using studio lights and a system of
mirrors he lit them in an intensely dramatic, hyperbolic way that reflects the
Expressionist lighting of the films on which he worked” (Parr & Badger I:130).
“The effect is eerie and transfixing; some of the faces appear as if underwater,
others as if they were bathed in the alternately harsh and beatifying light of
revelation” (Roth, 68). With 79 black-and-white photogravure plates;
photogravure portrait of Lerski by Ganan affixed as frontispiece. Essays in
German by Louis Fürnberg, Berthold Viertel and Arnold Zweig. Images clean
and fresh; some closed tears, unrestored dust jacket with chipping to spine head,
just affecting printing. Quite scarce in original dust jacket.

119
 michael lesy

“Absolutely A Thing In Itself… Its Own Nightmare, Its Own Scream”

116. LESY, Michael. Wisconsin Death Trip. New York, 1973. Oblong quarto, original purple cloth, dust jacket. $2200.

First edition of Lesy’s first book, his bold photo-essay on life and death in a turn-of-the-century Wisonsin town, signed by
him on the title page, with over 130 black-and-white photogravure plates.

“A startling, dreamlike montage of photographs and news clippings… Wisconsin Death Trip remains Mr. Lesy’s signature
work.” Drawing primarily from an archive of 3,000 images (culled from 30,000 glass-plate negatives) made by town
photographer Charles Van Schaick and from newspaper accounts first printed in the Badger State Banner, Michael Lesy
lays out an intricate patchwork of fact and fiction whose blighted nexus is the Wisconsin community of Black River Falls
between the years 1890 and 1910 (Roth, 222). To critic Greil
Marcus, “Michael Lesy’s shocking, genre-defying Wisconsin
Death Trip… seems absolutely a thing in itself: its own construct,
its own nightmare, its own scream” (New York Times). “Ahead of
its time… Wisconsin Death Trip is a fiction, neither sociology nor
history… Lesy shows, above all, that history, no matter how
persuasive… is partial” (Parr & Badger II:217). Basis for the 1999
film of the same title by British filmmaker James Marsh. First
edition, cloth; precedes first edition in wrappers published same
year. Open Book, 292. Book fine; tiny bit of dampstaining to verso
of bright dust jacket. An about-fine copy, scarce signed.

120
 helen levitt

“The Ebullient Life In That City”

117. LEVITT, Helen. A Way of Seeing. New York, 1965. Oblong octavo, original black cloth, dust jacket.  $7800.

First edition of this timeless collaboration between Levitt and James Agee, signed by Levitt on the title page, illustrated
with 50 black-and-white photogravures of Levitt’s lyrical and provocative images. First edition copies signed by Levitt are
exceptionally rare.

A Way of Seeing lyrically exemplifies “a more personal and elliptical way of looking at life… Levitt’s photographs are
beautiful—major, underrated works. Like Henri Cartier-Bresson, she
achieves a rare balancing act: her pictures have sentiment without
being sentimental, always maintaining an objective distance… a style
of 1950s New York photography eminently suited to the ebullient life
in that city” (Parr & Badger II:252). Though it was not published until
1965, Levitt’s first published collection of photographs was essentially
completed in 1948. Levitt made all of the photographs during the
previous decade in the streets of Harlem, Yorkville, and the Lower
East Side, and many of them had already been on exhibit at the
Museum of Modern Art; Agee wrote his essay for the book in 1946.
“In this edition, his text literally brackets the 50 photos, which are
arranged in an episodic montage—bleak, antic, poignant;
sometimes melodramatic, often comic—at once suggestively
narrative and as ephemeral as a passing glance” (Roth,
178). Icons of Photography, 84. Open Book, 214. Book fine,
light edge-wear to near-fine, price-clipped dust jacket;
scarce signed.
121
 helen levitt

“Possessed Of A Brilliant Eye”

118. LEVITT, Helen. In the Street. Chalk Drawings and Messages, New York City 1938-1948. Durham, 1987. Large
quarto, original stiff laminated photographic wrappers.  $2800.

First edition of Levitt’s second major photobook, signed by her on the title page, with 115 duotones by this “most celebrated
and least known photographer of her time” (New York Times).

“Widely recognized as a modern master… Helen Levitt may well be the most
celebrated and least known photographer of her time” (New York Times). In the
Street assembles a remarkable series of photographs taken by Levitt in East Harlem
during the 1940s—at a time when she, writer James Agee and co-filmmaker Janice
Loeb were collaborating on their short documentary film of the same title, released
in 1952. With these images of children’s sidewalk drawings and words, appearing
here in book form for the first time, Levitt’s “‘decisive moment’ snapshots capture
the graceful rhythms of the city [and] the joys of imaginative play on animated
streets” (Roth, 23). “Smart, humorous, tough and unsentimental, possessed of a
brilliant eye,” curator Ellen Handy calls Levitt the premiere “photographic
chronicler of this world” (“Helen Levitt,” 206). With essay by Pulitzer Prize-
winning scholar Robert Coles. Published same year as
first cloth edition, no priority established. Issued
without dust jacket. See Roth, 178; Parr & Badger I:252;
Open Book, 214. A fine copy, scarce signed.

122
 helen levitt

“Born To Be A Photographer”
119. LEVITT, Helen. Here and There. New York, 2003. Oblong quarto, original pale blue cloth, dust jacket. $1800.

First edition, signed by Levitt on the half title, with 107 striking black-and-white tritone plates by the photographer whose
work “established a new documentary genre for American photography” (John Szarkowski).

“Helen Levitt’s photographs are beautiful—major, underrated works”

(Parr & Badger, 252). “If ever anyone was born to be a photographer, Helen
Levitt was.” This exceptional collection of Levitt’s photographs in Here
and There reveals her unique ability to capture “deeply sympathetic yet
unflinchingly gritty pictures of children” (New York Times), and confirms
Levitt’s position as the “supreme poet-photographer of the streets and
people of New York.” These 107 black-and-white tritone photographs,
most published here in book form for the first time, were largely shot in
natural light, using her preferred 35mm. Leica. Included in the collection
is a photograph of her friend and frequent collaborator James Agee, who
wrote the commentary for her landmark Way of Seeing (1965), and her
whimsical portrait of a young Walker Evans. Foreword by Adam Gopnik.
A fine copy, scarce signed.

123
 o. winston link

“Railroading Is In The Blood Of The Night Trick Man”

120. LINK, O. Winston. “Night Trick” on the Norfolk and Western Railway. Roanoake, 1957. Slim oblong
quarto, original stiff photographic wrappers; pp. 16.  $1500.

First edition, containing “classic images” of American railroads by “one of the most singular photographers in the
medium’s history” (Parr & Badger), with 16 black-and-white photogravures and one color map, scarce in original
photographic wrappers.

“O. Winston Link is one of the most singular photographers in

the medium’s history. He is best known for his railway
photographers, in particular for images of steam trains rushing
through the nocturnal American landscape. He made these
complicated pictures… by using banks of synchronized
flashguns to illuminate large areas of the landscape and to give
him enough depth of field on his large-format camera, plus a
shutter speed fast enough to freeze a moving train. This book,
made for the Norfolk and Western Railway in Virginia, might
not be large, but many of Link’s classic images are there, and
given fine reproduction. Parr & Badger II:188. Scarce first
edition, first printing; published only in wrappers. Light foxing
to endpapers without affecting image, faintest edge-wear to
bright wrappers. A timeless, near-fine American classic. Rare.
124
 danny lyon

“We All Cry For Freedom!”

121. (LYON, Danny) HANSBERRY, Lorraine. The Movement. Documentary of a Struggle for Equality. New York,
1964. Quarto, original half white cloth, dust jacket.  $1800.

First edition of this powerful visual record of America’s Civil Rights struggle, with text by Lorraine Hansberry—her last
book published before her death at age 34—accompanied by 148 black-and-white photogravures, most by award-winning
photographer Danny Lyon, the first appearance in book form of his work, along with striking images by Robert Frank,
David Heath, Roy DeCarava and others.

An unblinking, often searing document of America’s Civil Rights struggle, authored by acclaimed playwright Lorraine
Hansberry, The Movement was her final work published in her lifetime, appearing less than one year before her death at
age 34. Hansberry’s words provide commentary to over 140 unforgettable photogravures from 19 of America’s finest
photographers, including 72 images by Danny Lyon, who was then staff photographer of the Student Non-Violent
Coordinating Committee. (Roth, 190) This is the first appearance in book form of Lyon’s photographs, and features
additional images by such notable photographers as Robert Frank, David Heath, Roy DeCarava and Jill Krementz.
Increasingly scarce, The Movement includes compelling images of KKK marches across Georgia, a brutal record of
lynchings and police violence, a powerful sequence on the Birmingham church bombing that killed four young girls, and
photographs of Martin Luther King, Jr., Malcolm X, James Baldwin, James Farmer and Dick Gregory. First edition, first
issue, with first issue dust jacket showing price of $4.95 on front inner flap; first cloth edition published same year as first
in wrappers. Jordan 285.14. See Photobook, 284. Images quite fresh, faint spotting to endpapers; slight edge-wear to scarce
first-issue dust jacket. Near-fine condition.

125
 danny lyon

“A New Kind Of Photographer, A Combination Of Witness And Participant”

122. LYON, Danny. The Destruction of Lower Manhattan. Toronto, 1969. Square quarto, original black cloth, dust
jacket.  $985.

First edition of Lyon’s second photobook, with 75 finely screened, black-and-white photogravure plates of New York history
about to vanish “under the wrecker’s hammer blows” (New York Times).

“One of photography’s great loners… Danny Lyon defines a new kind of

photographer, a combination of witness and participant” (Parr & Badger I:256,
II:18). When Lyon moved to New York in 1966, he soon became aware of a
need to “preserve the look and atmosphere” of lower Manhattan before many
of its buildings “vanished under the wrecker’s hammer blows… One of the
most gifted photographers” of his generation, Lyon used a view camera,
mounted on a tripod, “often anticipating destruction of important buildings
by only a single day… He worked like a historian, researching the files and
other sources of information about the buildings he photographed and the
people who had lived in them” (New York Times). “For 100 years,” Lyon writes
here, these buildings “have stood in the darkness and the day… Now, in the
end, they are visited by demolition men.” First edition, scarce in original dust
jacket. See Roth, 24-25. Images clean and fresh, tiny remainder mark, light
foxing to fore-edges of near-fine book; faint trace of bookseller ticket to rear
panel of bright dust jacket in about-fine condition.

126
 andreas magdanz

“Auschwitz Is Brought Into The Here And Now”

123. MAGDANZ, Andreas. Oświęcim-Brzezinka [Auschwitz-Birkenau]. Achen, 2003. Small quarto, original
photographic boards, dust jacket, cardboard case.  $1350.

First edition, signed on the dedication page by Magdanz, one of only 100 copies published in French, with 42 color
photographs of Auschwitz-Birkenau.

The photography of Andreas Magdanz “makes its effect by means

of understatement. Viewing his colour images, one sees clearly that
the photographic medium of reality is now colour, where once it
was considered to be monochrome. And this is unsettling:
Auschwitz is brought into the here and now. These calm, summery
pictures remove it from the long ago and far away, a symbol of the
past that we can safely leave with an unbelieving shudder. They
force us to meditate not only on what happened, but on the forces
of intolerance—still at work—that may allow it to happen again”
(Parr & Badger II:244-45). The text, in French, incorporates
excerpts from the 1946 memoirs of a former Auschwitz commander.
Self-published first edition of 1100 copies in German, with 300
additional copies limited to 100 each in French, English and Polish,
no priority established. A fine copy, scarce signed.

127
 andreas magdanz

A “Kafkaesque Situation”
124. MAGDANZ, Andreas. Dienststelle Marienthal. Eine Gebäudemonographie [The Marienthal Office.
Monography of a Building]. Achen, 2000. Large oblong quarto, original gray cloth, dust jacket. $1500.

Signed limited first edition, one of only 150 (of 1500) copies signed by Magdanz on the second half title, with over 90 color
and black-and-white photographic plates of Germany’s secret underground bunker at Marienthal—“a governmental
Noah’s Ark” (International Herald Tribune).

Construction secretly began in 1960 and lasted 12 years, and ultimately this underground German bunker in Marienthal,
codenamed “Rose Garden,” remained hidden for decades. Intended to house government officials during a nuclear war,
Dienststelle Marienthal consisted of tunnels running 12 miles, with 936 bedrooms, 897 offices, a chapel and a suite
upholstered in bright red reserved for the German president (International Herald Tribune). In 1998, German photographer
Andreas Magdanz heard that the bunker, whose existence remained
largely covert, was to be dismantled. Fearing no historical record would
remain, Magdanz applied for a permit and ultimately spent seven
months inside Marienthal, using a large format camera to take more
than 1,000 photographs. Parr & Badger II:283. In the tradition of Bernd
and Hilla Becher, Magdanz documents a “Kafkaesque situation…
[that] brings to mind a ghostly photo from 1945 which shows a smiling
Adolph Hitler in his bunker as he gazes upon a model of his planned
mega-city at Linz, while up above him in bombed Berlin the final battle
is raging.” This scarce signed limited first edition—one of only 150 (of
1500 printed) signed by Magdanz—features a bright orange dust
jacket showing a bomber logo Magdanz “found inside a cupboard
in the military situation room” and includes a laid-in folding plan
of the complex with a list of photographs (TAZ). Text in German
and English. A fine copy.

128
 man ray

“A Mass Of Invisibility”
125. (MAN RAY) COCTEAU, Jean. L’Ange Heurtebise. Paris, 1925. Slim folio, modern white
paper boards, original stiff cream paper wrappers bound in. $4800.

Limited first edition of Cocteau’s masterpiece, one of only 50 copies on Vélin Blanc (of a total edition
of 355 copies), marked “H.C.” (not for sale), with a magnificent heliogravure of the angel Heurtebise
by Man Ray.

Cocteau declares that he found the name “Heurtebise” on the brass plate of a control lever in an
elevator (“Elevator Heurtebise”), one day while on a visit to Picasso’s apartment. He was in an opium
haze at the time. “The elevator episode disturbed him day and night and the perturbation grew
worse. ‘The angel was living in me without my realizing it, and I needed the name Heurtebise, which
gradually grew into an obsession.’ For a week, the fabulous creature became unbearable, even
diabolical, and forced the poet to write against his will [it was] a monster of egotism, a mass of
invisibility’” (Charles Guenther). “I have written only one poem in my life with luck favoring me to
the very end: it is L’Ange Heurtebise” (Steegmuller, 352-53). As a frontispiece to this first edition,
Surrealist photographer Man Ray has been able to capture the angel’s “mass of invisibility” in one of
his famous “Rayogrammes.” Text in French. Crossland, 223. Not in Mahaffey. Light, inoffensive
toning to margins of text. Corners restored on original wrappers. A near-fine copy. Scarce.

129
 man ray

“Amongst The Greatest Photographs Of The 20th Century”

126. MAN RAY. Man Ray Photographs 1920-1934 Paris… Second Edition. Hartford, Paris, New York, 1934. Tall
quarto, original spiral bound stiff paper wrappers.  $7200.

First edition, second issue, of this landmark photobook, with 104 of Man Ray’s distinctive photographs and Rayographs,
“regarded by some as amongst the greatest of the 20th century” (Parr & Badger).

“This was Man Ray’s first monograph, and his friends pulled out all the stops to
herald it” (Roth, 80). It contains poetry and essays by the leading figures of the
Dada and Surrealist movements: André Breton, Paul Éluard, Marcel Duchamp,
and Tristan Tzara. “Man Ray’s work introduced a particular note [to Surrealism],
since he used photography and recognized early on that this medium could
reproduce the effects of object-based art in two-dimensional form. Photography
was in a position to preserve the ordinary and to unleash surreal effects” (Icons of
Photography, 26). In a short preface entitled “The Age of Light,” Ray cites
“individual human emotion and desire” as the “only inspirations” for his pictures.
Texts in English and French. This is the second issue, with “Second Edition” on the
cancel title page, one of an unknown number of copies purportedly recalled by
the publisher in hopes of generating an increased demand by suggesting that the
first edition had sold out. “After replacing the title pages of these copies… with
one stating second edition, he returned them for sale. Copies with the original
title page are exceedingly rare” (Roth, 80). See also Parr & Badger, 108-09. Owner
stamp on title page. A near-fine copy of a fragile book. Scarce.

130
 man ray

“The Poet Of The Darkroom”

127. MAN RAY. La Photographie n’est pas L’Art. Paris, 1937. Slim octavo, original flexible blue cloth portfolio, wrapper;
17 loose leaves. $5800.

First edition of this landmark treatise, with 12 full-page halftones of Man Ray’s distinctive photographs, “regarded by
some as amongst the greatest of the 20th century” (Parr & Badger).

Jean Cocteau called him “the poet of the darkroom.” “It was with Man Ray’s arrival in Paris in the summer of 1921, when
Dada was at its height, that photographic experimentation, temporarily leaderless after the disastrous war, took a decisive
new direction” (Frizot, 442). “Although he incorporated photography into his Dadaist practice, much of his photographic
activity was given over to conventional portrait and fashion commissions. This rankled with him, and ‘photography is not
an art’ was a constant theme in his work. La Photographie n’est pas L’Art is one of the most enigmatic yet advanced of all
his books… It can be taken as a summation of his experiments in photography, and might be said to be his photographic
swansong” (Parr & Badger, 108-09). With text by André Breton. See Roth, 80-81, 86-87. Interior and images fine. Only light
sunning to cover through aperture in wrapper. A fine copy. Scarce.

131
 robert mapplethorpe

“Our Most Notorious Contemporary Photographer”

128. (MAPPLETHORPE, Robert) RIMBAUD, Arthur. A Season in Hell. Portfolio of eight original
photogravures. New York, 1986. Tall folio, eight mounted photogravures on handmade paper, loose as issued,
original full red morocco portfolio.  $20,000.

Signed limited edition, one of only 40 portfolios containing the original photogravures by Mapplethorpe for the
Limited Editions Club edition of Rimbaud’s A Season in Hell (from a total of 55 sets including 15 proof copies).
Each photogravure numbered, initialed and dated in pencil by Mapplethorpe, all tissue-guarded.

“Written by Arthur Rimbaud at age eighteen in the wake of his tempestuous affair with poet Paul Verlaine,
A Season in Hell has been a touchstone for anguished poets, artists and lovers for more than a century. Imbued
with a hallucinatory intensity, this confessional prose poem is an account of a hellish journey beyond the bounds
of society—and the attempt to find a way back… each of the poem’s eight sections [is illustrated] with a dazzling
photograph by Robert Mapplethorpe that brilliantly complements the poem’s shifting moods. These images by
our most notorious contemporary photographer underline the striking modernity of Rimbaud’s great work.” A
fine copy and a magnificent production.

132
 chris marker

“Rarely Has An Artist Authored So Many Disparate Masterpieces”

129. MARKER, Chris. Coréennes [Korean Women]. Paris, 1959. Oblong quarto, original laminated photographic
boards.  $1500.

First edition, a scarce early photobook by legendary filmmaker and artist Chris Marker, a “seamless moving in-between
media” (Afterimage), with over 120 black-and-white photogravures of North Korea, interspersed with by illustrations
from maps, comic books, street posters and paintings.

“A towering and seminal figure in the field of contemporary visual culture… Chris Marker was among the celebrated
directors who formed the nucleus of the French New Wave” and an influential editor at Editions du Seuil in Paris, for
which he traveled extensively for in the late 1950s. A trip to North Korea inspired Coréennes. With over 120 black-and-
white photogravures, intersected by Marker’s text, in French, and
illustrations from maps, comic books, street posters and paintings,
Coréennes explores Marker’s innovative, “seamless moving in-between
media,” defying boundaries between still photography, cinema, the novel,
historical accounts and the travelogue. “Rarely has an artist authored so
many disparate masterpieces” (Afterimage). Preceding his best-known
work La Jetée (1962), which was a series of still photographs cast as a short
film (inspiring Terry Gilliam’s 1995 film 12 Monkeys), Marker’s Coréenes
in many ways inverts that format—here casting a film in a series of still
photographs and text. First edition, text in French. Issued without dust
jacket. See Parr & Badger I:235. Images fine, lightest edge-wear to bright
photographic boards. A scarce, about-fine copy.

133
 taiji matsue

“A Chilling Prophecy Of An Amortized, Depopulated World”

130. MATSUE, Taiji. Hysteric. Tokyo, 2001. Large square quarto, original photographic paper-covered boards. $1750.

Signed limited first edition, number 403 of 500 copies, boldly signed by Taiji Matsue, with 88 black-and-white photogravure
plates.

Confronting the challenge of “the abstract photographic landscape… Taiji Matsue takes the genre to a conceptual extreme,
doing for the landscape what Ken Ohara did for the human face.” If photography can be seen as fundamentally “a
mechanism that reduces the world to a uniform flat surface,” Matsue’s photographs of landscapes around the world, taken
throughout the 1990s, produce a geography similarly flattened and “devoid of much of its individuality… The effect is
hypnotic, the tenor of Hysteric both beguiling and distinctly uneasy… What begins as an exercise in formal Conceptualism
seems to end as a chilling prophecy of an amortized, depopulated world” (Parr & Badger I:310). Essay in Japanese and
English by critic Aki Kusumoto. Without dust jacket, as issued. A fine copy.

134
 susan meiselas

“A Precarious Balance Between The Beauty Of Its Pictures And The Horror They Depict”
131. MEISELAS, Susan. Nicaragua. Paris, 1980. Oblong quarto, original stiff photographic wrappers. $1350.

First edition, with 71 dramatic color photographic plates by MacArthur Award-winner Susan Meiselas. Text in French.

Five years after the appearance of Carnival Strippers (1976), Magnum

photographer Susan Meiselas “published her groundbreaking book
on the Nicaraguan revolution” (Roth, 238). “One of the best war
photobooks since those produced during… Vietnam, Meiselas’
Nicaragua is notable firstly because she shot it in colour, at a time
when black and white was still regarded as de rigueur for combat
photography” (Parr & Badger II:252). Nicaragua “becomes haunting
precisely because of the precarious balance between the beauty of its
pictures and the horror of what they depict,” and was influential in
winning Meiselas a 1992 MacArthur fellowship (New York Times).
Precedes the first American and British editions by one year. With
71 color photographic plates, map of Nicaragua, timeline, text in
French. A fine copy.

135
 lisette model

“Don’t Shoot ’Til The Subject Hits You In The Pit Of Your Stomach”
132. MODEL, Lisette. Lisette Model. Millerton, 1979. Slim folio, original laminated photographic boards,
dust jacket, packing case. $2300.

First trade edition of Model’s bold and extravagant photobook—“outrageous, hilarious and full of wild life”
(Roth)—with 51 dynamic photogravures (15 double-page).

“One of the first documentarists to value people for their substance and sheer presence” (Photobook), Lisette
Model (1901-83) “was acclaimed by such masters in photography as Ansel Adams, Edward Steichen, Berenice
Abbott and Edward Weston… Before coming to the United States from Europe with her husband in 1938,
Model had become well known in Europe as a proponent of strong realism” (New York Times). This volume’s
famous cover illustration “Coney Island Bather” was taken on her first commission for Harper’s Bazaar.
“Printed in a 1943 issue of the magazine as an act of gleeful subversion on art director Alexey Brodovitch’s part,
the picture remains outrageous, hilarious and full of wild life… Though many of Model’s earliest photos are
bitingly satirical shots of the rich and blasé on the French Riviera, they’re balanced here by equally aggressive
but sympathetic photos of the Lower East Side’s poor and dispossessed” (Roth, 242). Preface by Berenice
Abbott. Preceded by a signed limited edition of 300 copies accompanied by an original photograph. A fine
copy, scarce in original packing container.

136
 l ászló moholy-nagy

“Weird Spheres Of Light… That Seem To Penetrate Space”

133. MOHOLY-NAGY, László. L. Moholy-Nagy: 60 Fotos. Berlin, 1930. Slim octavo, original stiff photographic
wrappers.  $2300.

First edition of Moholy-Nagy’s influential photobook, with 60 full-page black-and-white halftones of photographs,
photomontages and photograms, and preface by Franz Roh, a seminal work in the Bauhaus inspired New Vision
movement.

One year after organizing the Stuttgart “Film und Foto” international exhibition, the
“most important photography exhibition of the 20th century,” László Moholy-Nagy
published this 1930s photobook. His New Vision for photography is realized in this
volume’s picture-essay format, its kinetic design and modernist questioning of form,
the negative print, where “magical effects lie hidden,” and a series of playful
photomontages and photograms—luminous images “like weird spheres of light… that
seem to penetrate space.” Edited and with preface by Franz Roh. Parr & Badger, 86.
First in a Fototek series in which eight volumes were planned but only two produced.
Text in German, English and French. With five pages of advertisements at rear. Without
extremely scarce cover band. Images fresh and bright, mild loss to spine wrapper, light
soiling and edge-wear to original unrestored photographic wrappers. A scarce, near-
fine copy.

137
 wright morris

“The Harsh Beauty Of Ugliness, The Romanticism Of the Commonplace,

The Poetry Of The Unpoetical”
134. MORRIS, Wright. The Inhabitants. New York and London, 1946. Slim quarto, original green cloth,
dust jacket.  $2500.

First edition of this “first work in photofiction,” with 52 black-and-white photogravure plates of America at mid-century,
an often haunting record of a people known by their imprint on the land.

“Often called one of the nation’s most unrecognized writers,” Wright Morris was frequently compared to Faulkner and
Cather for his “evocation of an idiosyncratic America” (New York Times). In addition to a legacy of 19 novels, Morris
produced five books of photography, a passion first inspired by a 1938 cross-country trip where, in his words, he “saw the
American landscape crowded with ruins I wanted to salvage.” In 1942, having won the “second Guggenheim Fellowship
ever awarded in photography (the first had gone to Edward Weston in 1937),” he photographed a history he felt was
disappearing. This groundbreaking “first work in photofiction” wedded Morris’ prose and a photographic focus that
searched out not merely a nation’s people, “but their artifacts—objects (mostly of wood) bearing their imprint.” On seeing
Morris’ images, Thomas Mann wrote him, praising these photographs so vivid with “the harsh beauty of ugliness, the
romanticism of the commonplace, the poetry of the unpoetical” (Roth, 122). The Inhabitants would become the first of a
trilogy by Morris, followed by The Home Place (1948) and God’s Country and My People (1968). Owner inscription to front
dust jacket flap. Book fine; light edge-wear and soiling, some chipping and slight abrasions minimally affecting text on
spine of extremely good, unrestored dust jacket.
138
 wright morris

“A Writer’s Writer And A Photographer’s Photographer”

135. MORRIS, Wright. The Home Place. New York, 1948. Octavo, original rust
cloth, dust jacket.  $3200.

First edition of the second volume in this innovative photofiction trilogy, with 88
black-and-white photographs. Signed by Morris on the front free endpaper.

Like the first in Morris’ trilogy, The Inhabitants, this inventive photobook pays
tribute to a rural people whose testimony was preserved in “their artifacts—objects
(mostly of wood) bearing their imprint.” Morris had planned to continue this
series—one now considered the “first work in photofiction”—but Scribner’s insisted
on omitting the photographs from this novel’s 1949 sequel, The World in the Attic,
and he was unable to complete the photobook trilogy until God’s Country and My
People, produced in 1968 with the encouragement of MoMA curator John Szarkowski
(Roth, 122). Excerpts appeared in The New York Times Magazine and Life at the time
of this book’s publication in the summer of 1948. Book fine, dust jacket very nearly
so. Scarce signed.

139
 daido moriyama

“A Metaphor Of Theater-As-Life, And Of Life-As-Theater”

136. MORIYAMA, Daido. Nippon Gekijo Shashincho [Japan—A Photo Theater]. Tokyo, 1968. Square octavo, original
wrappers, cardboard slipcase. $6000.

First edition of Moriyama’s first book, his combined impressions of Japanese theater and urban street-life, in 145 full-page
high-contrast photogravures, signed by Moriyama in Japanese and English.

Moriyama’s pictures are “shot without heed to the accepted protocols—chance condensations of light mix evidence with
abstraction. Like the radar sweep, they obliterate as they reveal” (Neville Wakefield). This work brilliantly combines his
photo-essay on Japanese theater with “images of other types of urban outsiders to make a metaphor of theater-as-life, and
of life-as-theater” (Parr & Badger). In his own words, “My underlying thought was
to show how in the most common and everyday, in the world of the most normal
people, in their most normal existence, there is something dramatic… This kind
of chaotic everyday existence is what I think Japan is all about.” Parr & Badger,
301. It can be asked of each of Moriyama’s works, “Is there to be found anywhere
else in the history of photographic bookmaking such a raw cry as this?” (Roth).
Japanese text by Shuji Terayama. Parr & Badger, 288. See Roth, 218-21. Slightest
rubbing to paper joints. A fine copy, signed.

140
 james nachtwey

“The Most Painful And Beautiful Book In The History Of Photography”

137. NACHTWEY, James. Inferno. New York, 1999. Thick folio, original black cloth. $1800.

First edition of James Nachtwey’s second photobook, with over 382 tritone photographs (many double-page)—a searing
chronicle of global conflict by “the leading war photographer of today,” inscribed on the half title, “To Mariella, a real
trooper, with friendship, Jim Nachtwey.”

Five-time recipient of the Robert Capa Gold Medal, Magnum photographer James Nachtwey “must be considered the
leading war photographer of today, and not simply because he has covered so many of the world’s recent conflicts…
Nachtwey’s reputation is due not simply to his longevity, but because of the quality of his brutally compassionate
photographs” (Parr & Badger II, 254). Inferno, Nachtwey’s second book and
his first in over ten years, presents unforgettable images of war, famine and
loss in areas such as Romania, Bosnia, Rwanda and Kosovo. To Richard
Avedon Inferno is undeniably “the most painful and beautiful book in the
history of photography.” First edition, first issue, published in conjunction
with an exhibit honoring Nachtwey in 2000 at New York’s International
Center of Photography. Introductory essay by Luc Sante. A fine copy,
inscribed.

141
 ikko narahara

“The Outsider’s Insight”

138. NARAHARA, Ikko. Where Time Has Vanished. Tokyo, 1975. Square folio, original half black cloth, slipcase,
shipping box.  $3800.

First edition of Ikko Narahara’s stunning visual record of his travels through the United States, with 101 folio photographic
plates (the final image, of Apollo 17 in flight, in color).

From 1970-73 Ikko Narahara traveled throughout the United States.

“While one cannot say there is a special race of people called Americans,
one can perhaps say they have an extra dimension to their character. They
seem to possess the motivation and determination to succeed, to pursue
something until that single mission is completed” (Afterword). “The
outsider’s insight, with images coming from the least expected quarters,
can be found in the major work he completed in the U.S. in the 70s called
Where Time has Vanished. Here he ignored the reality that was the stock-
in-trade of American street photographers, or at least he looked at it from
a very different angle” (Gabriel Bauret). Beautifully designed by Mitsuo
Katsui. Pale blue boards only very slightly darkened. A fine copy in original
slipcase and shipping box.

142
 ikko narahara

“Both A Questioning Of The Chosen Subject And A

Questioning Of The Self”
139. NARAHARA, Ikko. Where Time Has Stopped. Tokyo, 1967. Quarto,
original blue and black cloth, slipcase.  $4200.

First edition of Ikko Narahara’s scarce first book, a stunning visual record of his
travels through Spain, England, Italy, Austria, the Netherlands, and Portugal,
with 135 photographic plates, 31 of which are in color.

Narahara, one of the founders of the photography group VIVO, traveled through
Europe from 1962 through 1966, and this is his visual record of his travels.
“Ultimately, every aspect of Narahara’s work carries within it both a questioning
of the chosen subject and a questioning of the self via the medium of photography”
(Gabriel Bauret). Text in Japanese with some English. Photographs vivid and
sharp. Light toning to spine of book, slipcase clean and bright. An about-fine
copy.

143
 cas oorthuys

The “First Task Was To Bear Witness”

140. (OORTHUYS, Cas). Amsterdam tijdens de hongerwinter [Amsterdam during the ‘Hungerwinter’]. Amsterdam,
1947. Large quarto, original half black cloth, dust jacket. $5200.

First edition, a landmark photobook of “extreme hardship… resilience and resistance” (Parr & Badger), with over 140
black-and-white photogravures, many secretly taken by leading members of the Dutch Underground Camera
Group—Cas Oorthuys, Emmy Andriesse and Krun Taconis—documenting Holland under the Nazis, in very scarce,
unrestored dust jacket.

Published only two years after Holland’s liberation from the Nazis, “this is not simply a book remembering and
commemorating Amsterdam’s dreadful winter of 1944-45, but also a political rallying cry for the future… The story told is
of extreme hardship—hunger, poverty and cold. People stand in food queues or
search desperately for firewood, while others lie dead or dying in the streets But
Amsterdam also showed resilience and resistance… It was a landmark publication
by a group of photographers with both an ethical and an aesthetic attitude.”
Leading photojournalists such as Cas Oorthuys, Emmy Andriesse, Krun Taconis,
and others who formed the Underground Camera Group, made these images at
great risk, each understanding that Amsterdam’s “first task was to bear witness.”
As the journalist Max Nord wrote in the book’s introduction, “Was it not in those
times that we dreamed our most beautiful dreams?… While uniformed Germans
marched along Amsterdam’s canals, their clipped songs resounding past the
overcrowded prisons, we had a clear vision of the most perfect freedom” (Parr &
Badger, 196). Text in Dutch. Introductory essay by Max Nord. With extremely
scarce photographic dust jacket printed on verso, typical of such postwar
publications. Book fine; some chipping to spine ends, closed tears along spine
seam, minor tape repair to verso of very good, unrestored dust jacket. Rare.
144
 bill owens

“One Of The Most Popular And Successful American Photobooks Of The 1970s”
141. OWENS, Bill. Suburbia. San Francisco, 1973. Oblong quarto, original stiff paper wrappers. $2400.

First edition, true first issue in wraps, of the pioneering photobook, boldly inscribed on the title page, “For
Matthew, Bill Owens, 2006,” with 96 pages of black-and-white halftones, many paired with captioned quotes
that add to the book’s “indelible poignancy” (New York Times).

“Almost every photo in Suburbia repays attentive looking, with

details that turn an average photo into a great one… A
groundbreaking exemplar of documentary photography” (New
York Times). In Suburbia, Bill Owens accomplished an
“exemplary, no-frills documentary tone… one of the most
popular and successful American photobooks of the 1970s”
(Parr & Badger II:24). “Suburbia is too sympathetic and too
conflicted to be simply another ironic deadpan document… This
delicate balance of outsider and insider perspectives turns the
resulting book into a critical self-portrait—one that’s almost
painfully observant but withholds judgment” (Roth, 224). True
first issue in wrappers, actually printed in December,
1972, as stated in the second printing of July 1973;
published coincident with first cloth edition, no priority
established. Open Book, 296. Images clean and bright,
very lightest edge-wear to about-fine book, scarce
inscribed.
145
 irving penn
“Imagery Of Extreme Elegance”
142. PENN, Irving. Moments Preserved. New York, 1960. Large quarto, original
beige cloth, dust jacket, slipcase.  $2500.

First edition of Penn’s first book, signed and inscribed by him on the title page: “For
Robert, Irving Penn.”

Noted for his successful commercial work and particularly for his contributions to
fashion magazines such as Vogue, Penn has been lauded for his “imagery of extreme
elegance” (Blodgett, 101). This collection features “eight essays in photographs and
words” by Penn, ranging from “The Flavor of France” to “Christmas in Cuzco.” “An
overview of an astonishingly busy career… Moments Preserved
gathers Penn’s vast variety of enthusiasms…Penn reinvented the
classic daylight studio portrait for a more casual time, undercutting
its formality but heightening its potential as a revealing performance”
(Roth, 158). With an introduction by Alexander Liberman. Gift
inscription on half title. A fine inscribed copy.

146
 gilles peress

“In The Midst Of History-In-The-Making”

143. PERESS, Gilles. Telex Iran. In the Name of Revolution. Millerton, 1983.
Folio, original stiff photographic wrappers.  $2500.

First American edition, with 100 striking black-and-white photographs (many

double-page) taken by Peress during the U.S./Iran crisis of 1979-80.

Magnum photographer Peress has frequently stood “the midst of history-in-the

making, trying to decipher the signals of a revolutionary culture in upheaval. Telex
Iran… chronicles the crisis in United States-Iran relations in late 1979 and early
1980 when militant Iranian students seized the American Embassy and held its
inhabitants hostage. Peress’ book is oversized, graphically bold and… provides
numerous perspectives on an extremely sensitive political problem… Along with
reportage of major political events, Peress’ pictures record mundane spaces, places,
people and moments of Iranian life in order to emphasize the incomprehensibility
and confusion of the environment before his eyes. In this way the photographer is
able to visualize precisely the culture gap that made such a historical
misunderstanding possible. It is a brilliant tactic” (Roth, 28). Parr & Badger II:252.
Published simultaneously with first French edition (titled Telex Persan). Open
Book, 330. Images clean and bright; slight edge-wear to pictorial wrappers. A near-
fine copy.

147
 anders petersen

“Authentic Whiff Of Downbeat Urban Life”

144. PETERSEN, Anders. Café Lehmitz. Munich, 1978. Square octavo, original stiff paper wrappers, dust jacket.$2750.

First edition of this hard-hitting, diaristic look at the regulars of a local

Hamburg taproom, with 88 candid photogravures of riotous and amorous
barroom antics, signed by Petersen.

“Café Lehmitz was located near the Reeperbahn in Hamburg, Germany. Open
for most of 24 hours, it was frequented by sailors and stokers from all corners
of the world. By merchants, dockers and cabdrivers. By prostitutes, striptease
dancers and pimps… Swedish photographer Anders Petersen came across the
place at the end of the Sixties and for nearly three years would spend most of
his days and nights near the tables, benches and dance floor… His debut book
Café Lehmitz– as dark, wild and rugged as the place itself—was published in
1978. It instantly made his name as a passionate chronicler of unruly daily life”
(Noorderlicht). “One of the finest photobooks of the decade… an authentic whiff
of downbeat urban life” (Parr & Badger, 231). In Petersen’s words, “it was the
end of the road for many who congregated there.” Open Book, 318. Light toning
to margins of original dust jacket. A fine copy, signed.

148
 giulia pirelli and carlo orsi

“Vibrant, Energetic, Sharp And Covetable”

145. PIRELLI, Giulia and ORSI, Carlo. Milano. Milan, 1965. Tall folio, original half black cloth, laminated photographic
boards. $3500.

First edition of this engaging photo-essay on Milanese life, illustrated with 54 rich
full-page photogravures.

This photographic treatment of Milan “decisively reveals the influence of the

‘Swingin’ 60s’… The book’s whole emphasis [is] on the dynamic, go-ahead character
of Italy’s economic hub and most cosmopolitan city… This is a vibrant, energetic,
sharp and covetable book, and if its style tends to win out over substance, that was
the 60s that was” (Parr & Badger, 224). Text by Dino Buzzati in Italian. Interior
fine. Minor rubbing to foot of spine. A near-fine copy.

149
 richard prince

“Lighthearted And Funny… One Becomes What One Beholds”

146. PRINCE, Richard. Adult Comedy Action Drama. New York, Berlin, Zurich, 1995. Tall quarto, original boards,
dust jacket.  $1800.

First edition, signed by Prince beneath the photographic plate preceding the title
page, with 235 vibrant color images of his whimsical “postmodern landscape”
(Roth).

“An autobiography through words and pictures… Adult Comedy Action Drama
links together Prince’s drawings, aphorisms, original photographs and photographs
of other peoples’ photographs. Lighthearted and funny, it describes and theatricalizes
the visual ‘stage set’ of an artist’s life, enacting all the comedies, actions and dramas
with pictures alone. Prince’s is a postmodern landscape, where one becomes what
one beholds” (Roth, 30). “Prince updates the old Modernist flirtation between the
intellectual and the supposedly primitive… borrowing conceptual and aesthetic
strategies from Duchamp, Jasper Johns, Minimalism and the photography-as-
painting movement” (New York Times). Open Book, 366. Roth, 274. A fine copy,
scarce signed.

150
 tony ray-jones

“The Only Record Of His Genius”

147. RAY-JONES, Tony. A Day Off. London, 1974. Quarto, original mustard cloth, dust jacket. $2800.

First edition of this posthumously published photo-documentary of the English people at leisure, with 120 finely screened
halftones—the only evidence of Ray-Jones’ genius.

“I want my pictures to have poignancy and sharpness but with humor on top.” Tony Ray-Jones studied with Alexey
Brodovitch and Richard Avedon. “At the time of his tragic death in 1972,
aged 30, Ray-Jones had already made an indelible mark on photography.
Developing his vision in New York and expressing it in his affectionate and
ironic studies of the British at leisure, he was almost single-handedly
responsible for the birth of contemporary art-photography in Britain” (Russell
Roberts). Ray-Jones’ photographs “will stand beside the work of Henri
Cartier-Bresson and other great photographers of the human scene… His
special talent was to observe, with warmth but also with humor, people at
their least self-conscious.” During his lifetime, little of his personal work (as
opposed to his commercial work, which he always kept separate) was
published—a couple of small portfolios in Creative Camera and the odd
image here and there. In 1966 he embarked on a project to document Britishers
engaged in their leisure activities, from which he produced a book mock-up,
tentatively titled England by the Sea, but he failed to find a publisher. Three
years after his death the mock-up was published as A Day Off—the only
record of his genius. Open Book, 302. See Parr & Badger, 57. Small remainder
mark to rear pastedown. Fine condition.
151
 albert renger-patzsch

“One Of The Best-Known Titles In Photobook History”

148. RENGER-PATZSCH, Albert. Die Welt ist Schön [The World Is Beautiful]. München, 1928. Quarto, original cloth,
dust jacket.  $4500.

First edition of Renger-Patzsch’s influential work, sparking “one of Germany’s

most pervasive modernist movements” and advancing the cause of a ‘New
Objectivity’ in photography, with 100 black-and-white halftone photographs,
in very rare original dust jacket.

“One of the best-known titles in photobook history, Die Welt ist Schön was
originally going to be called Die Dinge (Things)… Seen by many as the epitome
of the ‘straight’ photographic ethos because of its apparent stark objectivity,
Renger-Patzsch’s” work, like that of Karl Blossfeldt, explores with extraordinary
resonance the complexity of the close-up (Parr & Badger, 97). “For Renger-
Patzsch, photography was a way of recreating the order of things through the
order of the photograph. His pictures of factories, mines, architecture, even
flowers and animals, have an unwavering precision that is almost painful in its
purity” (New York Times). Roth, 50. Text in German. With introduction by Carl
Georg Heise. Without extremely scarce printed band and card slipcase. Open
Book, 68. Images quite fine, bit of toning to spine head; light edge-wear and
small chip to spine head of scarce unrestored dust jacket.

152
 eugene richards

“Sitting Here… Still In Dorchester”

149. RICHARDS, Eugene. Dorchester Days. Wollaston, MA, 1978. Tall quarto, original stiff photographic
wrappers.  $5000.

First edition of Richards’ self-published photobook, inscribed on the half title, “Sitting here signing a book the night of the
fourth of July. Still in Dorchester, unable to leave as so many people are unable to leave their homes. Eugene Richards,”
featuring 75 striking duotone photographs.

“During the 1970s Eugene Richards… upheld the gritty, documentary tradition of
American photography… (fusing) the documentary and the political with the
personal… a fusion, one might say, of W. Eugene Smith and Robert Frank… Richards’
involvement with those he is photographing is total, and he is one of the best of
photojournalists in getting that across” (Parr & Badger II:30). In Richards’ photobook
of his working-class neighborhood of Dorchester, “he set about creating a body of
work that would bear witness to the time and place. This included racial conflict, the
passing of the older generation, social alienation and urban decline. In 1978 he self-
published Dorchester Days… [which] marked the beginning of his distinguished
career” (New York Times). With a postscript by his wife Dorothea Lynch, whose
death from breast cancer was chronicled in his 1986 photobook, Exploding into Life.
Open Book, 320. Images fine; lightest wear to spine ends and corners of bright
photographic wrappers. A scarce inscribed copy in about-fine condition.

153
 willy ronis

“A Vision Of The World That Is Singularly Moving”

150. RONIS, Willy. Sur le fil du hasard [On Chance’s Edge]. Paris, 1986. Tall quarto, original white cloth, dust
jacket.  $1800.

Second edition of Ronis’ award-winning photobook, warmly inscribed by him to renowned photojournalist Peter
Turnley, “Pour Peter Turnley, mon ami photographe estimé et talenteux [my esteemed and talented photographer
and friend], Willy Ronis, 8/10/05,” featuring 112 full-page and numerous
in-text photogravures of Ronis’ work from 1934-79.

“One of France’s leading photographers,” Willy Ronis began his career

with Robert Capa in the 1930s and was featured, along with Cartier-
Bresson and Brassaï, in MoMA’s 1953 exhibit—Five French Photographers
(McDarrah & McDarrah, 390). Following WWII Ronis and photographers
such as Doisneau, Boubat, Izis and Riboud came to share a quiet, often
profound attention to the everyday, a particularly “lyric mode… a vision
of the world that is singularly moving” (New York Times). The first French
photographer to work for Life Magazine, Ronis received the prestigious
Nadar Prize for Sur le fil du hazard, only his second photobook, which
includes his famous image of bullet holes on a plate glass
window following the Liberation of Paris (“Place Vendôme”)
and the luminous portrait of his wife bathing at an open
window (“Le nu provençal”). Preceded by the virtually
unavailable 1980 first edition. Text in French. A fine copy, with
a distinctive association.

154
 august sander

“One Of The Great Documentary Works Of All Time”

151. SANDER, August. Antlitz der Zeit: Sechzig Aufnamen Deutscher Menschen des 20.Jahrhunderts [Face of Our
Time]. Munich, 1929. Quarto, original yellow cloth over flexible boards, dust jacket. $9800.

First edition of one of the rarest photobooks of the 20th century, August Sander’s magnum opus, “a crowning achievement
of photography” (New York Times), offering a profound study of German society, with preface by Alfred Döblin, featuring
60 black-and-white photographic halftones.

“One of the great documentary works of all time, Antlitz der Zeit (Face of Our Time), is an affecting collective portrait of
Germany during the Weimar Republic, on the way to the Third Reich.” Considered “a crowning achievement of photography
in this century,” Sander’s rare 1929 monograph “has influenced many photographers in the years since... In an essay
published in 1931, Walker Evans compared Sander to the French photographer Eugene
Atget, and described his approach as ‘one of the futures of photography’…” (New York
Times). From 1910 to the 1950s, Sander made over 500 portraits of Germans from all
professions and classes, but was unable to complete his planned masterwork, publishing
only a select number here. “When his portraits were first shown in 1927… Sander was
hailed as the ‘Balzac of the lens.’… It would be difficult to overestimate the influence
of this work on later photography, documentary or otherwise, in Germany and
elsewhere.” (Roth, 52). “When the Nazis came to power in Germany in 1933, publisher’s
copies of Antlitz der Zeit were seized, the plates destroyed, and the negatives confiscated
by Hitler’s Ministry of Culture” (Parr & Badger, 124). This copy is one of the few
remaining of the first edition. Text in German. Open Book, 84. Owner inscription.
Bookstamp. Book and images quite fine; scarce, very good dust jacket with later rear
panel and flap; expert restoration to spine and corners of original front panel and flap.
One of the 20th century’s most influential monographs.
155
 ken schles

“The End Of The World From The Geometry Of Innocence”

152. SCHLES, Ken. The Geometry of Innocence. Ostfildern-Ruit, 2001. Folio, original black cloth. WITH:
“U.S.S. Carl Vinson.” Pacific Ocean, no date. Original 8 by 10-inch matted silver gelatin photographic
print, original black cloth chemise; slipcase.  $2800.

Limited edition of Schles’ long-awaited second photobook, one of only 50 copies, containing over 100 color
and duotone photographic images, together with his untitled 8 by 10-inch silver gelatin photographic print
of the “U.S.S. Carl Vinson,” number three of 50 and signed by Schles in pencil on the verso, along with his
captioned inscription, “The end of the world from The Geometry of Innocence,” housed in original black
chemise. With scarce original slipcase.

In Schles’ long anticipated second photobook, only his first published work after the landmark Invisible City
(1988), electrifying color images combine with crisp duotones in a work that takes its title from Bob Dylan’s
Tombstone Blues: “The geometry of innocence flesh on the bone.” Here Schles is at once objective and
“discretely but harrowingly personal… like headlines in time-lapse, Geometry of Innocence sweeps together
myth, aspiration, failure, sleaze, horror, menace and the urban dispersonal” (European Photography Review).
Limited first edition of only 50 copies, with 57 duotone and 48 color photographic images, captioned
photographic image list at rear, and separate chemise housing Schles’ signed, numbered silver gelatin print,
number three of 50. Scarce in original slipcase. A fine copy.

156
 michael schmidt and einar schleef

“These Photographs Will Leave You Speechless”

153. SCHMIDT, Michael and SCHLEEF, Einar. Waffenruhe
[CeaseFire]. Berlin, 1987. Square quarto, original photographic self-
wrappers. $1850.

First edition of this striking photo-essay on the Berlin Wall, signed by

photographer Michael Schmidt on the title page, with 39 rich full-page
duotones (one gate-folded).

Schmidt “represents what is most promising about the New European

photography. Working in a style that is impressionistic and seemingly
casual, he fashions images that are simultaneously personal and
political” (New York Times). As Martin Parr notes, “through Schmidt’s
dramatic perspective and keen eye for telling details and subtle
nuances, he creates an air of inconsolable emptiness
in his images of The Wall and those affected by it.
These photographs will leave you speechless.” Text in
German. First edition in softcover published same
year as hardcover, no priority established. Open Book,
336. A fine copy, extremely scarce signed.
157
 barbara schulten

“One Of The Best Designed And Most Innovative Volumes

In The History Of Company Photobooks”
154. (SCHULTEN, Barbara). 50 Jahre Madaus: Eine aufgeschlossene Firma [50 Year Anniversary of Madaus: An
Innovative Firm]. Köln-Merheim, 1969. Quarto, original half white cloth, stiff laminated photographic wrappers,
slipcase.  $4500.

First edition of the “‘Pop art’ extravaganza… a cornucopia of design and layout ideas” (Parr & Badger), specially created
for the 50th anniversary of the innovative German drug firm, Dr. Madaus, with 120 black-and-white photogravures and
four-color illustrations (including two gatefolds), along with laid-in publisher’s “reader-reply” card and original eight-
page booklet.

Published on the 50th anniversary of the Cologne drug company, Dr. Madaus, “one of the world’s leading producers of
pharmaceuticals… Eine aufgeschlossene Firma was designed as a ‘Pop art’ extravaganza similar to Warhol’s Index (1967)…
The result combines high purpose with a sense of fun.” This one-of-a-kind photobook contains a whimsical array of pop-
up inserts, pull-out tabs, double-page pop-up figures, various tipped-in ephemera, an original laid-in “reader-reply” card
and eight-page booklet (measuring 6 by 8-1/2 inches), as well as a memorable fold-out display that “squeaks when
opened—like Warhol’s red accordion in Index—and features [photographer] Barbara Schulten’s image of a mouse held by
a scientist. “One of the best designed and most innovative volumes in the field of company photobooks” (Parr & Badger
II:196). An especially distinctive photobook, exceptionally fine, scarce in original slipcase.

158
 cindy sherman

“So Timeless And Yet So Much Of Its Own Time”

155. SHERMAN, Cindy. The Complete Untitled Film Stills. New York, 2003. Folio, original black cloth, dust
jacket.  $1300.

First edition, with Sherman’s presentation inscription on the half title: “To Paul Thanks! Cindy Sherman.” With 70
duotone plates and six duotone in-text photographs.

In the 1970s, Cindy Sherman “made her debut on the art scene with the
remarkable series Untitled Film Stills” (Prestel, 174). This distinctive
approach to film and its mythologies produced “one of the most significant
photobooks published at the end of the 20th century. Untitled Film Stills
struck an extraordinary cultural chord” (Parr & Badger II: 42). This
landmark work “absorbed Cindy Sherman’s artistic energies for about
three years, from some time in 1977 until 1980... The stills continued an
impulse that animated Sherman from her student days, to use herself as
an artistic means, transforming herself as a way of eliciting transformations
in her audience, and finding some way to use photography in this
performative enterprise… I can think of no body of work at once so
timeless and yet so much of its own time” (Danto). The original Untitled
Film Stills photobook contained only 40 of the 69 plates that originally
comprised the series. This volume contains all 69 plates, in a sequence
Sherman arranged for the book; she also adding a 70th photograph (#62,
1977) from a roll film she had long thought lost. With introductory essay
by Sherman. A fine copy.
159
 kishin shinoyama

“This Baffling, Hypnotic Book”

156. SHINOYAMA, Kishin. A Fine Day. Tokyo, 1975. Quarto, original black cloth, acetate dust jacket, slipcase. $3500.

First edition of this book of color photographs depicting notable events in Japan
in 1974.

“A fascinating early book by Kishin Shinoyama, who has become one of Japan’s
best-known commercial photographers… Shinoyama’s book consists of 23
photographic sequences of around 10 photographs each… They range from
studio portraits of Japanese women to landscapes in which the weather features
prominently, to images of such figures as Richard Nixon. The element linking the
images turns out to be the fact that each sequence comments on a different event
that took place in 1974… There seems to be no real link between the events
depicted here except that they were chosen. The same may be said of the
photographs themselves. The primary link between them was not that Shinoyama
took them, but that he included them in this baffling, hypnotic book” (Parr &
Badger, 303). Text in English and Japanese. Very minor spotting to first and last
leaves only. Text and photographs clean and bright. An about-fine copy of a scarce
and important volume.

160
 aaron siskind

“One Man’s Struggle To Understand His Life In Relation To The World”

157. (SISKIND, Aaron) WHITMAN, Walt. Song of the Open Road. New York, 1990. Folio, original half black morocco,
slipcase.  $2200.

Signed limited first edition, number 225 of only 550 copies, illustrated with six rich photogravures, signed by Siskind in the
colophon.

“Through his use of form, emotional timbre, and iconography, Siskind’s work reflects one man’s struggle to understand his
life in relation to the world. His imagery, on one level, is autobiographical, encompassing all the many political, social,
sexual, aesthetic, and introspective observations of a long and complex life” (Carl Chiarenza). Whitman sees “paths worn
in the irregular hollows by the roadside,” and the “flagg’d walks of the
cities.” Siskind interprets Whitman in his images of “tar poured into
the cracks of light-colored concrete roads, forming swirls and curves
and parallel lines.” Original prospectus laid in. A beautiful production
in fine condition.

161
 w. eugene smith

“A Heroic Figure In American Photography”

158. SMITH, W. Eugene. Japan—a Chapter of Image. Tokyo, 1963. Large quarto, original blue paper boards. $7200.

First edition of this photographic essay about Japan’s industrialization, with 144 photographs, inscribed at length by the
photographer, “To Arnold Crane—The accidentals of error in this book are many—do not confuse these accidentals with
the arts of serendipity. Frankly, against my will and because of time and a temporary laziness, I am letting you have this
without the minimal corrections of the text I consider absolutely essential, corrections which are here --- as a Xerox copy.
I do this grouchily, with trepidation, reluctantly—with personal regards, Gene Smith.” The photocopy to which Smith
refers carries his further inscription, “A crude personal graph of the most minimal corrections.” The title page bears
further pencil corrections in Smith’s hand.

“A heroic figure in American photography, Smith created photo essays so compelling in their power that it can be said his
work changed, as well as documented, history” (McDarrah & McDarrah, 457). From 1961-62, Smith worked for Hitachi
Corporation in Japan, ostensibly to record the company’s activities. Instead, he created this photo essay emphasizing the
impact of rapid industrialization on Japanese laborers. “Smith helped transform photojournalism… His examples have
remained as the standards by which photo
essays are still judged” (Icons of Photography,
122). Inscribed to noted photojournalist and
photography collector Arnold Crane. Crane
photographed Smith for the project that led to
Crane’s 1995 book On the Other Side of the
Camera. The photocopy mentioned in Smith’s
inscription has been attached to the verso of the
front free endpaper and lists several specific,
typographical changes the photographer wishes
to see made to the volume. On the title page,
Smith has written the instruction, “Realign,”
and has drawn an arrow to clarify his meaning.
Interior fine, minimal wear to extremities, light
sunning to rear board and spine. A scarce title,
in near-fine condition, remarkably inscribed.
162
 w. eugene smith

“To Reach Subsequent Generations”

159. SMITH, W. Eugene. Let Truth Be the Prejudice. Tokyo, 1971. Large slim folio, original white paper
portfolio, 16 photographic plates (each measures 11-1/2 by 16-1/2 inches), loose as issued. $6000.

Japanese edition of this folio-sized portfolio of 16 rich photogravures, produced to accompany the opening of
Smith’s exhibition in Tokyo, boldly signed by him on the front cover of the portfolio.

In 1970 a retrospective exhibition of Smith’s work entitled “Let Truth Be the Prejudice,” opened at the Jewish
Museum, New York. The following year it was transported by Smith and Aileen Mioko Sprague to Tokyo, where
this portfolio was issued to accompany the Japanese opening. Later the same
year Smith and Sprague moved to Minamata to document the aftermath of
industrial pollution there, resulting in their famous Minamata (1973). This
scarce exhibition portfolio includes images from Smith’s renowned photo-
essays: “Albert Schweitzer” (1949), “Spanish Village” (1950), “Nurse Midwife”
(1951), “Pittsburgh” (1955) and “Haiti” (1959), among others. “Exhibitions
gave Smith new opportunities to sequence his prints as well as to showcase
their extraordinary richness… That his pictures sustain power to reach
subsequent generations is his lasting legacy” (Icons of Photography, 122).
Publishing and biographical information in Japanese on the inside front
cover; cover and captions on individual photographs in English. Small
closed tear to tab of portfolio. Photogravures in fine condition. Scarce.

163
 frederick sommer

“To Teach People That Imagination Is The Finest Order”

160. SOMMER, Frederick. 1939-1962 Photographs. Rochester, 1962. Small quarto, staple-bound as issued, original
white paper wrappers. $1350.

Rare first edition of this retrospective of the work of a photographer who has “influenced generations of photographers”
(New York Times).

Encouraged in his work by Alfred Stieglitz, Paul Strand, and Edward Weston, “Sommer has produced over his lifetime a
body of work that began with Arizona landscapes and moved on to increasingly surrealist images of found objects and a
number of experimental techniques that involve super-imposed images, distortion, cameraless pictures, and manipulated
negatives… Many of his photographs are carefully constructed creations, painstakingly arranged for his camera, surrealistic
compositions of found, discarded objects” (McDarrah & McDarrah, 462-63). “In his photographs, Sommer wanted ‘teach
people that imagination is the finest order’” (The Getty). This first printing is Volume 10, Number 4 of the Aperture series.
Faint soiling to original wrappers. Near-fine condition. Rare.

164
 alec soth

“An Exciting New Talent In American Contemporary Photography”

161. SOTH, Alec. Sleeping by the Mississippi. Göttingen, 2004. Square quarto, original cloth. $1500.

First trade edition, scarce first printing, of Soth’s first photobook, boldly signed by him on the title page, with 47 evocative
full-color “pictures that touch us more deeply with every viewing” (Parr & Badger II).

“Alec Soth is an exciting new talent in American contemporary photography… Soth trawled the Mississippi River from
source to mouth to make the images included in Sleeping by the Mississippi, a book that has made a memorable recent
contribution to the 8 by 10 color aesthetic… a poetic and dark work, full of quiet, lyrical and poignant pictures that touch
us more deeply with every viewing” (Parr & Badger II:50). “Alec Soth has a wonderful and terrifying eye… No one has ever
seen anything like his work” (Journal of Contemporary Photography). “His handsome book Sleeping by the Mississippi…
[has] the grit of Robert Frank’s Americans and the freakish normality of a Flannery O’Connor story” (New York Times).
Scarce first trade edition (stated first edition), first printing, with photographically illustrated cloth boards preceding a
separate issue the same year.” For this edition, preceded by two self-published limited editions (of 25 each) in 2003, “Soth
also varied one or two of the images, and, importantly, changed the layout from one image per page to one where each
picture faces a blank page” (Parr & Badger II:50). With essays by Patricia Hampl and Anne Wilkes Tucker. Without dust
jacket, as issued. A fine copy, scarce signed.

165
 emmanuel sougez

“To Look At And Appreciate The Beauty That Is All Around Us”
162. SOUGEZ, Emmanuel. Alphabet. Paris, 1932. Small square quarto, original stiff photographic self-wrappers.$3500.

First edition of Emmanuel Sougez’s influential photobook, with 26 finely screened black-and-white photogravures printed
on heavy card stock—“precise, elegant and lyrical” images illustrating the letters of the alphabet (Parr & Badger).

“During the 1930s… publishers showed great enterprise in employing

photography to illustrate books for children, commissioning some of the
finest photographers and utilizing the medium in both a realistic and a
fantastic way.” As in his groundbreaking children’s photobook Regarde!,
published the same year, Emmanuel Sougez uses “simple but effective
photographs of everyday things”—here to illustrate the letters of the
alphabet. “Precise, elegant and lyrical, these images constitute a model
modernist project, being ideal vehicles for showing anyone, not just
children, how to look at and appreciate the beauty that is all around us”
((Parr & Badger I:102). Sougez (1889-1972) founded the photographic
department of L’Illustration, and throughout his influential career
“excelled at rigorously composed, large-format still lifes,” such as those
seen here (Lenman, 591). Bookseller ticket. Images fresh and clean; light
rubbing and edge-wear to original photographic self-wrappers. A
singular photobook, in extremely good condition.

166
 edward steichen
“A Little Record And Memoir Of Opinion And Whim, As Between Friends”
163. (STEICHEN, Edward). SANDBURG, Carl. Steichen the Photographer. New York, 1929. Folio, original black cloth
gilt.  $3800.

Signed limited first edition, number 703 of 925 copies, with 49 beautiful full-page photogravures by Steichen, signed by
both Steichen and Sandburg. The copy of Steichen’s friend and fellow wartime photographer Waldo McNaught.

Sandburg wrote this brief biography of his brother-in-law Steichen as “a little record and memoir of opinion and whim, as
between friends” (Foreword). Included among the photogravures are Steichen’s portraits of Greta Garbo, Pierpont Morgan
and the Sandburgs, as well as many of his famous commercial photographs. Without original glassine and slipcase. Roth,
54-57. Icons of Photography, 16. Open Book, 86-87. Ownership inscription of Waldo McNaught, one-time picture editor for
the Detroit Times who served with Steichen during World War II and oversaw all combat naval photography in the South
Pacific. Interior generally clean, light wear to spine ends, mild rubbing to cloth. An extremely good copy with a noteworthy
Steichen association.

167
 edward steichen

“What War Is Like As the U.S. Navy Fights It” (Time)

164. STEICHEN, Edward. Power in the Pacific. New York, 1945. Slim quarto, original red cloth, dust jacket. WITH:
Two typed letters signed. West Redding, Connecticut: October 24, 1963 and March 9, 1967. Each letter one leaf of Steichen’s
stationery, typing on rectos only.  $4000.

First edition of Steichen’s photographic record of the Pacific theater of World War II, presentation copy inscribed in pencil
to Steichen’s wartime colleague Waldo McNaught, “For Mac, who sweated through this job with me, E.J.” Accompanied by
two typed letters signed by Steichen as well as a black-and-white photograph of Steichen with actress Lillian Gish. A
wonderful collection of Steichen material.

Steichen “was named director of the U.S. Naval Photographic Institute [during World War II], commanded all combat
photography and ended as a captain in 1946… Steichen’s curatorial association
with the Museum of Modern Art began when he organized two exhibitions
during the war, ‘Road to Victory’ and ‘Power in the Pacific,’” the latter the basis
for this volume (ANB).”The photographs were selected by Navy Captain Edward
Steichen from among thousands taken by Goast Guard, Marine and Navy
photographers. Once the highest-paid advertising photographer in the United
States, shy, hard-working Steichen was commissioned in 1942 to head a special
photographic unit, coached the men who shot the film for the vivid, action-
packed Fighting Lady. Like Fighting Lady, the Steichen-edited Power in the
Pacific is a superb example of the technical achievements of modern photography”
(Time). Two typed letters signed by Steichen accompany this volume, both
addressed to Waldo McNaught, one-time picture editor of the Detroit Times
who served with Captain Steichen in the South Pacific. Book with light wear to
spine ends and extremities. Dust jacket with light rubbing to spine ends. An
about-fine collection of Steichen materials, with a noteworthy provenance.

168
 joel sternfeld

“Sly, Often Ironic, Frequently Mysterious”

165. STERNFELD, Joel. American Prospects. New York, 1987. Oblong quarto, original gray cloth, dust jacket. $3500.

First edition of Sternfeld’s acclaimed first photobook, signed by him on the title page, a “cogent and persuasive view of
America, told with affection” (Parr & Badger), with 55 color plates.

Upon winning a Guggenheim Fellowship in 1978, Joel Sternfeld “set out with an old-fashioned Wista large-format camera…
and the desire to find beauty in the contemporary landscape” (New York
Times). His eight-year sojourn across the country “produced his first and best-
known book, American Prospects… Each picture suggests an arcane drama
being played out… [narratively] suggestive, sly, often ironic, frequently
mysterious, making American Prospects… a cogent and persuasive view of
America, told with affection but also conveying the feeling that something is
not quite right” (Parr & Badger II:34). Introduction by noted critic Andy
Grundberg. Open Book, 338. Owner inscription. A fine copy, scarce signed.

169
 alfred stieglitz

“To See And To See Even Beyond The Point Of Seeing”

166. (STIEGLITZ, Alfred). America and Alfred Stieglitz: A Collective Portrait. Garden City, 1934. Octavo, original
black cloth, dust jacket. $3000.

First edition of this tribute to Stieglitz by artists and writers such as William Carlos Williams, Gertrude Stein, Paul
Strand, Jean Toomer, Sherwood Anderson and John Marin, with 120 illustrations of works by Stieglitz, Picasso, Georgia
O’Keeffe, Cézanne and numerous others. Signed by Alfred Stieglitz.

“When Stieglitz began to photograph in the early 1880s,” notes Earl Powell,
director of the National Gallery of Art, “few people believed that the medium
could be used for creative expression. When he died more than 60 years later,
few doubted it.” This early tribute to Stieglitz collects writings from artists and
writers he influenced and whose works he exhibited over his remarkable career.
With 32 plates of black-and-white reproductions of photographs by Stieglitz and
works by artists such as his wife Georgia O’Keeffe, Matisse, Rousseau, Cézanne,
Picasso and Brancusi, all of whom had their first American exhibitions at
Stieglitz’s gallery. Text clean and bright. Rear inner paper hinge starting but
sound, minor rubbing to boards; light edge-wear and mild soiling to photographic
dust jacket. A near-fine signed copy.

170
 paul strand and cesare zavattini

“The Common Denominator Of All Humanity”

167. STRAND, Paul and ZAVATTINI, Cesare. Un Paese. Torino, 1955.
Quarto, original gray cloth, dust jacket.  $1800.

First edition of this scarcest of all Strand titles, beautifully illustrated with
many in-text and full-page gravure prints.

Strand pursued “the portrait in photographs and words of a small town

and its inhabitants… he hoped to demonstrate ‘the common denominator
of all humanity’ and ‘create a bridge toward a deeper understanding
between countries.’ This project wasn’t fully realized until later, when
Strand collaborated with Italian screenwriter Cesare Zavattini on Un
Paese, his 1955 book on Zavattini’s home town of Luzzara” (Roth, 136).
The neo-realist Zavattini wrote the screenplays for such acclaimed films as
The Bicycle Thief and Two Women. Text in Italian. Book fine, a bit of
chipping to spine head of near-fine dust jacket.

171
 jindrich styrsky

“The Direct Transition Of Everyday Reality Into Super-Reality”

168. STYRSKY, Jindrich and HEISLER, Jindrich. Na Jehlach Techto Dni [On
the Needles of These Days]. Prague, 1945. Slim octavo, original photographic
wrappers.  $2800.

First trade edition of Styrsky’s haunting photo-essay on the Nazi occupation, with
28 provocative heliogravures.

In Styrsky’s words, “The whole principle of taking photographs lies in being

surprised at finding a certain object and thinking about this discovery in the
sense of Surrealism.” This melancholy reminiscence of the Nazi occupation
“remains a haunting photobook, 50 years after the war. It is a prime example of
one of the photobook’s great truths—it’s not necessarily the individual pictures
that count, but what you do with them” (Parr & Badger, 197). Typographic design
by Karel Teige. Preceded by the very rare small, clandestine edition of 1941, with
original tipped-in silver gelatin prints. Open Book, 140. Text block neatly recased
into original wrappers, light spotting to bottom margin of first few leaves. An
extremely good copy.

172
 josef sudek

“One Of The Most Singular Photobooks Ever Made”

169. SUDEK, Josef. Praha Panoramatická. Prague, 1959. Oblong quarto, original cream cloth, dust jacket. $7500.

First edition, signed by Josef Sudek on the fly-title, inscribed by him in his beloved Prague and in the year of publication,
with 284 striking black-and-white panoramic photogravures of the city and surrounding countryside.

A photographer whose body of work suggests “that photography was as necessary to him as breathing, Josef Sudek claimed
the city of Prague and his surroundings as comprehensively as Eugène Atget claimed Paris… His masterpiece is one of the
most singular photobooks ever made, Praha panoramatické (Prague Panorama).” To create its wealth of memorable images,
Sudek used a large, antique 1894 Kodak Panorama camera with a spring-drive lens that produced a negative of approximately
4 by 12 inches… Praha panoramatické is a veritable
encyclopaedia of how to plot, construct and unify a
panoramic photograph. And if this were not enough,
Sudek even pulls off a near impossible trick at the end of
the book: good vertical panoramas” (Parr & Badger, 211).
With poem by Nobel Prize-winning author Jaroslav
Seifert; book and dust jacket design by architect Otto
Rothmayer. Text in Czech. Open Book, 182-83. See Roth,
144. Images quite bright. Occasional pinpoint spotting not
affecting plates, slight crease to edges of front free endpaper
and page 113, faint soiling to original cloth; light
soiling, mild chipping to spine ends and corners,
tiny spotting to lower edge of front panel without
affecting image on cover of scarce unrestored
dust jacket. An exceptional signed copy in near-
fine condition.
173
 josef sudek

A Stunning Portfolio Of Czechoslovakian Photography

170. (SUDEK, Josef and others) KAINER, Josef, editor. Fotografie 1928-58. Prague, 1959. Slim portfolio
(10 by 12 inches), original linen, containing 20 original silver gelatin prints, each measuring 9-1/2 by 12
inches. $3500.

First edition of a portfolio collection of Czechoslovakian photography, featuring 20 silver gelatin prints by
the finest Eastern European photographers, including Josef Sudek, Zdeněk Tmej, Karel Hájek, Jaromir
Funke.

Representing the work of major Czech photographers from post-WWI to 1958, this scarce portfolio
contains 20 outstanding original silver gelatin prints by figures such as Zdeněk Tmej, whose photobook
Abeceda (1946) is one of WWII’s most profound “documents of resistance and survival photographers.
The collection also features the luminous “Mé Okno” (1952), a photograph highlighting the “romantic,
atmospheric work” of Josef Sudek, whose 1956 Fotografie is “one of the finest books of photography ever
made” (Roth, 124, 144). Further, in its inclusion of “Z Cyklu Čas Trvá” (1932), by Jaromir Funke, this
distinctive assemblage shows the founding influence of an artist who is perhaps “the most important
personality of Czech Avant-garde photography” (Birgus, New Objectivity and Constructivism). In these
and the images of other key photographers, such as Karel Hájek’s “Zachranĕný” (1934) and Erich Einhorn’s
“Za manéže” (1958), can be found a photographic landscape tracing the “clandestine imperative of much
wartime photography [that] figures in late-1940s Czech photography” and the vision of the 20th-century’s
most influential artistic movements, such as Germany’s New Objectivity, the Bauhaus school, modernism
and Soviet Constructivism (Parr & Badger, 188). With introduction by editor Josef Kainar printed on front
pastedown and photographic information printed on sleeve encasing photographs. Each original
photograph with title, date and photographer’s name imprinted on verso. Text in Czech. Photographs fine
and bright; only lightest soiling to original portfolio boards. A fine copy.
174
 larry sultan and mike mandel

“Select Photographs Intended To Be Used As Objective Evidence And Show

That It Is Never Clear”
171. SULTAN, Larry and MANDEL, Mike. Evidence. Greenbrae, 1977. Slim oblong quarto, original dark
blue cloth gilt.  $2500.

First edition of this groundbreaking collection of 59 evidentiary photographs selected from diverse archives,
documenting crime scenes, scientific experiments, industrial tests, and natural disasters.

With the advent of “art photography” in the 1960s and 70s came a somewhat pretentious insistence by the
artistic community that only “artists” could create valuable photographs. When Evidence appeared, it shifted
our appreciation of the photograph toward something more than a purely artistic expression, and forever
designated “found images” and “candid shots” as acceptable in the photographic arts. In the afterword to this
collection, art professor Robert Forth warns (tongue in cheek) that to interpret evidence correctly, we must
“underpin and surround the evident with more circumstantial materials.” Fine condition.

175
 john thomson

“One Of The Most Significant And Far-Reaching Photobooks In The Medium’s

History”
172. (THOMSON, John) SMITH, Adolphe. Street Life in London. London, 1877-1878. Quarto, original black- and
gilt-stamped green cloth, renewed endpapers; custom clamshell box. $32,000.

Rare first edition of the “first photographic social documentation of any kind” (Gernsheim, 340), illustrated with 37
Woodburytypes within red-rule borders on 36 sheets, by John Thomson.

During 1877-78, he created 36 photographs for the monthly parts of Street Life in London, a ground-breaking social
commentary, with text by radical socialist journalist Adolphe Smith. Thomson and Smith approached their subjects
like ethnographers and anthropologists, interviewing and photographing people in London’s poorest areas. “Few
photographs of the London streets had been taken before Thomson’s journey around them, and even fewer were
published with the intent of informing public opinion… To combine photographs
of the London streets, and to place the poor, the working classes, criminals, and
the homeless at the center of the images, was a new departure in photographic
documentation… the images have been reproduced photomechanically by the
Woodburytype process from the photographer’s original dry-plate negatives.
The resultant prints give a strikingly sharp, almost three-dimensiona
representationl” (Ovenden, 78-88). The 12 monthly parts of Street Life were
reissued in book form in 1878 (this edition). Recognized as one of the most
significant photography books ever published, complete copies are difficult to
find due to the high market value of individual prints. “It was the first published
collection of social documentary photographs anywhere in the world” (Museum
of London). Frizot, 348-50; Parr & Badger, 48; Truthful Lens 169; Open Book,
42-43. Discrete stamp of ownership. Photographs in fine condition, text lightly
embrowned. Moderate edge-wear to original cloth. A very desirable copy.
Extremely scarce.
176
 shomei tomatsu

“For All The Extraordinary Achievements Of Tomatsu’s Long Career,

It Is The Images Of Nagasaki That Will Likely Continue To Haunt The Viewer”
173. TOMATSU, Shomei. 11:02 Nagasaki. Tokyo, 1966. Square octavo, original white paper boards. $7500.

“The culmination of modern Japanese photography”: First edition of this important record of Hiroshima and Nagasaki,
signed by Tomatsu on the title page, with 119 black-and-white photogravure plates depicting the effect of the atom bomb.

This is the first photobook by Tomatsu, a founding member of the avant-garde photographers’ group. In 1960, the Japan
Council Against Atomic and Hydrogen Bombs asked Tomatsu to take photos of Nagasaki and the bomb’s aftereffects.
Titled after the time of the bomb’s explosion, this work has had great influence on the development of Japanese photography.
The “ultra-fine sensitivity towards the subject and the deep sense of detachment which is to be found in these photographs
may, perhaps, be considered as the culmination of modern Japanese photography that had first appeared in the 1930s. In
particular, an approach which consisted of transforming everyday subjects into powerful symbolic images was brought to
perfection by Tomatsu” (Frizot, 691). The text by Motoi Tamaki and interviews with survivors is in Japanese. Without
original slipcase. Open Book, 226. Parr & Badger, 276. Images clean and bright, minor restoration to title page where
owner’s name was excised. An excellent copy.

177
 kurt tucholsky and john heartfield
“One Of The Most Important European Artists”

174. TUCHOLSKY, Kurt and HEARTFIELD, John. Deutschland, Deutschland über alles. Berlin, 1929. Quarto,
original photomontage embossed boards. $5800.

First edition of the brilliantly satiric photobook banned by the Nazis, with text
by Weimar journalist Tucholsky and 194 photographic illustrations, featuring
the cover design and photomontages by John Heartfield, who first invented the
form of photomontage with artist George Grosz.

Heartfield “was passionately committed to critiquing the abuse of power

wherever he saw it” (Art Journal). “One of the century’s greatest collagists,” he
was well-known for his “brilliant anti-Nazi photomontages,” which were
printed in the journal AIZ. After fleeing Germany in 1930, Tucholsky “was
denounced as a ‘traitor against the nation’ and stripped of his German
citizenship by the Nazis in August 1933. His books were to be banned and
burnt”—including many copies of Deutschland, Deutschland (Monthly
Review). Heartfield also escaped Germany in the 1930s. Text in German. Four
pages advertisements at rear. Open Book, 76. Book fine; slight soiling to original
cloth, fragile Heartfield photomontage exceptionally intact with only minimal
loss at corner of front collage. Near-fine.

178
 david and peter turnley

“Every Important International News Event Of The Last 15 Years”

175. TURNLEY, David and Peter. Beijing Spring. New York, 1989. Quarto,
original full gray cloth, dust jacket.  $900.

First edition, photographer Peter Turnley’s personal copy from his library, signed by
him. With over 100 color photogravures.

Peter Turnley’s impressive career has covered “almost every important international
news event of the last 15 years” for Life, Newsweek and as a contributing editor for
Harper’s Magazine (New York Times). It was a Newsweek assignment that led Peter to
China shortly before the Tiananmen Square protests began. His twin brother David
Turnley, a photographer for the Detroit Free Press, arrived shortly thereafter and the
brothers documented the battles and the protests surrounding the Tiananmen
Square Massacre. With text by Melinda Liu, Newsweek’s Asia
regional editor. A fine copy with wonderful provenance.

179
 doris ulmann

“They Appear To Dissolve Into Memory”

176. ULMANN, Doris and PETERKIN, Julia. Roll, Jordan, Roll. New York, 1933. Large quarto, original gilt-
lettered three-quarter linen, cardboard slipcase.  $70,000.

One of the highlights of 20th-century photography: signed limited first edition, number 93 only 350 copies (327 of
which were offered for sale) signed by both photographer Doris Ulmann and writer of the text Julia Peterkin. With
90 superb tissue-guarded full-page copperplate hand-pulled photogravure plates—this copy with the scarce extra
photogravure plate signed in pencil by Ulmann laid in.

Doris Ulmann’s photographic collaboration with Julia Peterkin focuses on the lives of former slaves and their
descendants on a plantation in the Gullah coastal region of South Carolina. “Ulmann was a wealthy, educated
woman who had studied with Clarence White and worked as a portraitist before focusing on American rural life…
Ulmann’s soft-focus photos—rendered as tactile as charcoal drawings in the superb gravure reproductions here—
straddle Pictorialism and Modernism even as they appear to dissolve into memory” (Roth, The Book of 101 Books:
Seminal Photographic Books of the Twentieth Century). The extra signed photogravure plate that was issued only with
this deluxe edition replicates the image that appears opposite page 14. Few copies of this deluxe edition had been
distributed at the time of Ulmann’s death in 1934; most were donated by her heirs to the Tuskegee Institute to be sold
for that school’s benefit. This copy from the collection of William T.
Wynn, whose recollections of an evening with Ulmann and
Peterkin appear in a typewritten note affixed to the rear
pastedown. With previous owner typed inscription tipped to rear
pastedown. Scarce original cardboard slipcase expertly restored.
Original cloth slightly toned; a bit of only the most minor
marginal foxing. A near-fine copy. Rare in this condition and
with the original slipcase and the extra photogravure.

180
 van der elsken

“Jazz Visually Echoes The Music Itself”

177. VAN DER ELSKEN, Ed. Jazz. Amsterdam, 1959. Small square octavo, original laminated photographic
boards.  $2200.

First edition, Dutch issue, a “gem of a book” (Parr & Badger), with over 100 rich, velvety photogravures of jazz greats,
including Louis Armstrong, Duke Ellington, Ella Fitzgerald, Count Basie, Miles Davis, Dizzy Gillespie and Sarah
Vaughan.

“The 1950s constituted a golden age for jazz music. The decade was also
renowned for classic small-camera photography, much of it as rough
and ready as the best experimental jazz. The two art forms combine to
perfection in Ed van der Elsken’s gem of a book, Jazz. Jazz is an elusive
art form, and there would seem to be two aspects to pinning it down in
a photobook: the form of the photographs and the form of the book.
Van der Elsken’s assiduous attention to both makes this modest volume
probably the most successful of the numerous attempts to do so… Jazz
visually echoes the music itself” (Parr & Badger I:246). Roth, 156. Text
in Dutch. First edition, Dutch issue, published same year in German as
Foto-Jazz; both printed in Holland, no priority established. Open Book,
184. Owner signature on title page. Images clean and fresh, mild rubbing
to bright boards, light tape repair to spine of near-fine book.

181
 joan van der keuken

“Capturing That Moment When Childhood Ends”

178. VAN DER KEUKEN, Joan. Wij zijn 17 [We are 17]. Bussum, 1955. Slim octavo, original stiff photographic
wrappers.  $2500.

First edition, the first photobook by renowned photographer and filmmaker Van der Keuken, with 30 black-and-white
“innovative” halftones of Dutch youth about to “take a deep breath and step out into the world” (Parr & Badger).

“In 1955, the 17-year-old Joan van der Keuken [1938-2001] caused a stir in Dutch publishing with his book Wij zijn 17 (We
Are 17)… Innovative… in its treatment of a section of society… the 30 pictures in Wij zijn 17 are tellingly simple. Students
lounge around in their rooms, doing nothing very much, as if waiting for their adult lives to begin. The mood is uncertain,
capturing that moment when childhood ends and youth must take a deep breath and step out into the world… Van der
Keuken’s foray into the new form of the ‘photonovel’… became a model for other books examining the same phenomenon”
(Parr & Badger II:244). Van der Keuken went on to become “arguably Europe’s most important documentary filmmaker”
(New York Times). Scarce first edition; text in Dutch. Images quite fresh; lightest edge-wear to fragile photographic
wrappers. A key European photobook, near-fine.

182
 joan van der keuken

“To Touch The Essence Of The Thing Seen”

179. VAN DER KEUKEN, Joan. Achter Glas [Behind the Window]. Amsterdam, 1961. Large quarto, original stiff
photographic wrappers. $2800.

First edition in softcover, scarce second work by van der Keuken, the Dutch photographer and filmmaker whose photobook
vividly challenged a nation’s postwar optimism and asserted the “new form of
the ‘photonovel’” (Parr & Badger), with 94 black-and-white photogravures.

Joan van der Keuken (1938-2001) was only 17 when he published his first
photobook Wir Zijn 17 (We are 17, 1955). Two years later, while studying
filmmaking in Paris, he followed with Achter Glas (Behind the Window), a
photobook whose “brooding existentialist portraits” of Dutch youth clashed
with “Holland’s postwar optimism” and substantially altered the nation’s iconic
self-image (ArtForum). Parr & Badger I:244. “it is here, in Achter Glas, that the
symbol of the window emerges as central motif in van der Keuken’s work”
(Lucid Eye). In Achter Glas we find “a physical and psychological proximity
[that] lies at the heart of van der Keuken’s style,” present throughout his career
as a photographer and filmmaker (ArtForum). Scarce first softcover edition,
preceded by 1957 hardcover. Text in Dutch by Remco Campert. Images quite
clean and fresh; slight soiling, tiny creases to bright photographic wrappers.
Near-fine.

183
 joan van der keuken

“Burying The Myth Of Romantic, Timeless, Immortal Paris”

180. VAN DER KEUKEN, Joan. Paris Mortel. Hilversum, 1963. Quarto, original gray cloth, dust jacket. $4800.

First edition, the third photobook by award-winning photographer/filmmaker van der Keuken, with 65 finely screened
black-and-white photogravures of Paris, strikingly printed on French-fold leaves, scarce in original unrestored dust
jacket.

“Arguably Europe’s most important documentary filmmaker” (New York Times) Joan van der Keuken (1938-2001) began
his career in still photography, producing two groundbreaking photobooks—Wij zijn 17 (1955) and Achter Glas (1957)—
before the age of 20. After moving from Amsterdam to Paris to study filmmaking, van der Keuken took “thousands of
photographs on the streets… combining the American energy of William Klein with an undertone of loneliness and
desolation that was typically European… Van der Keuken’s Paris mortel (Mortal Paris) can be added to the long list of
classic photobooks about the French capital… Van der Keuken’s book is not simply cinematic in pace and layout—most
stream-of-consciousness books were—it also concentrates on Paris as a complex web of sociopolitical relationships.” The
book’s innovative layout by Marinus van Raalte was closely supervised by van der Keuken, who “was experimenting with
William Klein’s ‘random’ way of sequencing pictures, throwing them down and letting relationships form spontaneously.”
This approach was considered “too radical in design by the publishers… who finally brought out the work in 1963… not in
any great numbers” (Parr & Badger I:248). First edition, containing 65 photographs of Paris taken from 1956-58, extremely
scarce in original dust jacket. Bookseller ticket. Owner inscription in Dutch on half title. Images quite fresh, one signature
separated (plates 30-32) without affecting image; light edge-wear to original unrestored dust jacket. A classic European
photobook in near-fine condition.

184
 victor vazquez

“Strange, Glowing Icons Of Beauty, Life, Death and Religious Ritual”

181. VAZQUEZ, Victor. The Body and the Bird. Philadelphia, 2002. Large folio (measures 16 by 20 inches),
nine gelatin silver photographic prints, each tissue-guarded and matted, loose as issued in original clamshell
box. $8500.

Signed limited first edition of this dramatic portfolio of nine hand-painted gelatin silver prints, number 6 of only
25 copies produced, each print signed, titled and dated on the verso by Vazquez.

“Religion, especially the Afro-Caribbean Santeria, features prominently in Vazquez’s photographs and
installation work. Vazquez’s large, warmly orange-tinted photographs are strange, glowing icons of beauty, life,
death and religious ritual. The hand-painted
photographs… are a vaguely discomfiting package—
monumental nude figure studies with surreal symbols
like feathers, bones, dead roosters and nails… There’s
a fierce beauty here, formal and at the same time
primal, and altogether compelling” (Roberta Fallon).
Fine condition.

185
 roman vishniac

“Among Photography’s Finest Documents Of A Time And Place”

182. (VISHNIAC, Roman). ABRAMOVITCH, Raphael, editor. The Vanished World. New York, 1947. Thick oblong
quarto, original red cloth with mounted woodcut illustration. $2500.

First edition of this profound and evocative glimpse into the world of Eastern European Jews, with 530 black-and-white
photogravures, including over 145 photographs by renowned photojournalist Roman Vishniac, images that capture “the
heart of Jewish life” (New York Times).

Between 1935 and 1938 Roman Vishniac traveled throughout Eastern Europe documenting the Jewish communities that
would soon be exterminated. “Using a hidden camera and under difficult circumstances, Vishniac was able to take over
sixteen thousand photographs; most were left with his father in a village in France for the duration of the war” (University
of CA Press). “Vishniac took with him on this self-imposed assignment—besides this or that kind of camera and film—a
rare depth of understanding and a native son’s warmth and love for his people. The resulting photographs are among
photography’s finest documents of a time and place” (Edward Steichen). “Following WWII, as the full horror of the
Holocaust became known, Jewish organizations published photobooks, both to record what the Nazis had done and to give
a sense of what had been lost. The Vanished World…is a collection of documentary photographs recording the Eastern
European Jewish communities that the Nazis (and others, let it be said), tried so systematically to eradicate… The Vanished
World is a superb, if forlorn, collection” (Parr & Badger II:214). Included are over 145 images by Vishniac, as well as
photographs by Alter Kacyzne, the Yiddish writer and photographer murdered by Nazi sympathizers in 1941, and Menahem
Kipnis, the Yiddish folklorist who photographed Jewish life while on concert tours across Europe. With three tipped-in
full-page maps, highlighted in red, of Eastern Europe and Warsaw. Without dust jacket, as issued. Fine condition.

186
 moshé vorobeichic

“Pushing The Envelope Of The Documentary Form”

183. VOROBEICHIC, Moshé. Ein Ghetto im Osten (Wilna). Zurich and Leipzig, 1931. Slim small octavo, original half
orange cloth, photographic boards, glassine.  $2800.

First edition of Vorobeichic’s influential pre-WWII photobook on Lithuanian Jews,

featuring 64 black-and-white photographic images and photocollages, with scarce
original glassine.

Lithuanian-born photographer Moshé Raviv-Vorobeichic trained at the Bauhaus in

the 1920s and after studying at the École de Photo Ciné in Paris, “returned to visit
his family and photographed life in the Jewish community of Vilnius. The result
was Ein Ghetto im Osten, Wilna” (Open Book, 18). “Pushing the envelope of the
documentary form… Vorobeichic also introduced cinematic cutting and montaging
techniques… A poignancy has been added in hindsight: it was made at the beginning
of a desperately traumatic time for European Jewry” (Parr & Badger, 130). Preface
by poet Zalman Chnéour in Hebrew and German; captions in Hebrew and German.
64 black-and-white photographs and photocollages by Vorobeichic printed on
glossy stock. With extremely scarce original glassine wrapper. Images quite fresh
and clean, lightest foxing to endpapers; tiny bit of wear to spine head of very scarce
glassine wrapper. An exceptional copy in about-fine condition.

187
 andy warhol

“Studio 54 Is Like Junior High School”

184. WARHOL, Andy. Andy Warhol’s Exposures. New York, 1979. Tall
quarto, original black cloth, dust jacket.  $1600.

First trade edition of Warhol’s candid shots of his famous friends, boldly
signed by Warhol on the half title, with 360 full-page halftones.

“I don’t think Studio 54 is like pagan Rome. I think it’s like junior high
school.” This is a collection of Warhol’s photographs and written accounts of
his friends—the stars of rock, fashion, film, society, sports and politics. “My
idea of a good picture,” he writes, “is one of a famous person doing something
unfamous. It’s being in the right place at the wrong time.” Preceded by a
signed limited edition of 1,000 copies in full morocco. See Roth, 188; Parr &
Badger II, 144. Fine condition, signed.

188
 alex webb

“Only A Catastrophe Gets Our Attention”

185. WEBB, Alex. Dislocations. Cambridge, 1998-99. Oblong quarto, original black cloth, cloth chemise. $3200.

Signed limited first edition, number 32 of only 40 copies, signed on the limitation page by photographer Alex Webb,
Richard Gardner, Director of the Film Study Center, and Dana Bonstrom, creator of the Center’s New Media Initiative
and the designer of this groundbreaking book project, with 58 four-color photographic plates, each mounted and hand-
titled by Webb, an elegant volume of accordion-fold leaves.

Alex Webb shares with fellow Magnum photojournalists Gilles Peress and Susan Meiselas an innovative vision that
embraces the use of saturated, high-keyed “color to bring texture and heart to their photographs” (New York Times).
Notably it was Meiselas who proposed this book project to Webb. His interest in exploring the rich potential in state-of-
the-art printing technologies joined with that of Richard Gardner, Director of Harvard’s Film Study Center, who aided
the production of Dislocations with designer Dana Bostrom: a collaboration evidenced by their signatures appearing
with Webb’s on the limitation page. This signed limited first edition is number 32 of only 40 copies (with ten artist’s
proofs), and reveals the artistry of this acclaimed photojournalist who has been hailed by critic Adam Weinberg as “a
master of the shadow” in these brilliantly conceived images taken around the world. With printed plate affixed to
introductory page containing a quote from Don DeLillo’s White Noise: “The flow is constant… Only a catastrophe gets
our attention.” A fine copy.

189
 bruce weber

“A Carefully Planned Act Of Seduction”

186. WEBER, Bruce. O Rio de Janeiro. New York, 1986. Folio, original
photographic paper wrappers.  $3500.

First edition of this intimate photo-essay on life in Rio, with 144 finely screened
full-page gravures (four folding), inscribed on the title page, “To Barbara,
Bruce Weber.”

“Arguably the most influential contemporary fashion and celebrity

photographer, Bruce Weber works in a style combining neoclassic mannerism
(Beaton, Horst, Hoyningen-Huene) and naturalistic reportage… An extended
portrait of Brazilian Jiu Jitsu champion Rickson Gracie grounds the book in a
passage of documentary realness… O Rio is most successful as a carefully
planned act of seduction” (Roth, 254). Discrete stamp of ownership on title
page. A fine inscribed copy.

190
 weegee

“One Of The Great Documentary Photobooks”

187. WEEGEE. Naked City. New York, 1945. Octavo, original cloth, dust jacket. $3800.

First edition of Weegee’s “photobook masterpiece” (Parr & Badger), profusely illustrated with 239 powerful, gritty black-
and-white photogravures. In scarce first-issue dust jacket.

Polish-born Arthur Felig, who immigrated to the United States in 1910 and taught himself photography, was dubbed
“Ouija” by New York City cops in the 1930s for his uncanny ability to appear at crime scenes before the police did. A
tabloid-news photographer for the Daily News, Herald Tribune, and Post, Weegee in many ways created his own legend—
“that of the cigar-chomping sensationalist paparazzo.” With the over 200 vivid photogravures assembled in Naked City,
Weegee created a “photobook masterpiece… one of the great documentary photobooks… His Naked City is essentially a
nocturnal book, to be put alongside Brassaï and Brandt… Beneath its Rabelaisian tough-guy exterior, this is a book with
heart” (Parr & Badger I:145). When Naked City was adapted to the screen, Weegee “went to Hollywood to make several
short films and to act in others. But he is best remembered as the chronicler of a particular place and time: New York City
in the first half of the 20th century” (Roth, 118). As Earl Wilson put it, “Weegee is an O. Henry with a camera.” First
edition, first issue; first-issue dust jacket, with $4.00 price on front flap. Icons of Photography, 94. Open Book, 142-43. Crease
on front pastedown as issued by publisher. Book about-fine, with only lightest edge-wear to spine ends; some loss to spine
and front panel, front flap detached, some tape repair to verso of scarce, very good dust jacket.

191
 weegee

An “Uncanny Ability To Appear At Crime Scenes Before The Police Did”

188. WEEGEE. Weegee’s People. New York, 1946. Octavo, original cloth, dust jacket. $3600.

First edition, presentation copy, profusely illustrated with over 250 black-and-
white photographic plates, boldly inscribed on the half title in the year of publication:
“To Jerry Russell, my best pupil, who I gave lessons by mail, on how to play the
PIANO, Weegee, written under water, 1946.”

A tabloid-news photographer for the Daily News, The Herald Tribune, and The Post,
the “cigar-chomping sensationalist” Weegee was known for his gritty photos of the
demi-monde (Parr & Badger, 145). “Weegee is best remembered as the chronicler of
a particular place and time: New York City in the first half of the 20th century. He
was a news photographer, and if we accept the definition of poetry as ‘news that
stays news.’ He was a poet with a camera” (Roth, 118). Open Book, 146-47.
Contemporary review laid in. Pencil number on rear panel of dust jacket. Book
near-fine, with minor offsetting from inscription to title page, shallow stain to top
corner of book, only slight rubbing to cloth. Dust jacket very good, with a bit of
wear and a few spots of foxing. An extremely good inscribed presentation copy.

192
 weegee

“All The Sensationalism Of Dime Thriller Novels”

189. WEEGEE. Naked Hollywood. New York, 1953. Quarto, original half yellow cloth, dust jacket. WITH: Typed letter
signed. New York: Designers 3, 1953. Original sheet of ivory letterhead measuring 7-1/2 by 10-1/2 inches, typewritten and
signed on recto.  $4800.

First edition of Weegee’s follow-up to his Naked City, with over 130 black-and-white
photographs, an exceptional presentation copy inscribed on the half title by co-authors
Mel Harris and Weegee, “To Bunny—Mel & Weegee,” accompanied by laid-in typed
letter, dated “July 22, 1953,” the year of publication, reading, “Dear Bunny: Look at me!
I’m an author. It started as a gag, and—got published. Hope it gives you a laugh or two.
Regards to Ruth, [signed] Mel.”

“Walker Evans once wrote that the photographer ‘is in effect voyeur by nature.’” Few
lived up to that definition better than Weegee (born Arthur Felig), the colorful
tabloid-news photographer, whose “stage was the street” (Roth, 118), exploring the
lives of “night people and criminals—with all the sensationalism of dime thriller
novels” (Parr & Badger I:120). In this sequel to his groundbreaking
Naked City (1945), Weegee and editor Mel Harris selected the best of
over 2,000 photographs, revealing a side to Hollywood only Weegee
could capture. With laid-in letter from co-author Mel Harris typewritten
on the letterhead of his art agency, “Designers 3,” with its printed New
York address and telephone number and the typewritten date of “July
22, 1953,” signed by Harris. Book fine; light spotting to rear panel, mild
foxing to verso of bright unrestored dust jacket. A highly desirable,
near-fine presentation copy. Rare in this condition.
193
 weegee

“Credited With Helping To Create American Tabloid Journalism”

190. WEEGEE. Weegee by Weegee: An Autobiography. New York, 1961. Octavo, original cloth, dust jacket. $3000.

First edition of Weegee’s colorful autobiography, profusely illustrated with 116 black-and-white photographs, boldly
inscribed in red ink to acclaimed fellow photographer, Slim Aarons: “To Slim Aarons, Weegee, 1962.”

Polish-born Arthur Felig (1899-1968) was dubbed “Ouija” by New York City cops in the
1930s for his uncanny ability to appear at crime scenes before the police did. A tabloid-
news photographer for the Daily News and other newspapers, he “had a gift for
highlighting the unexpected, stylish and even humorous aspects of dark scenes…
Weegee’s classic film-noir style… is credited with helping create American tabloid
journalism” (New York Times). Weegee was first and always “a news photographer, and
if we accept the definition of poetry as ‘news that stays news,’ he was a poet with a
camera” (Roth, 118). Weegee by Weegee recalls his early years and features an account
of Hollywood’s adaptation of his book Naked City. This copy boldly inscribed to Slim
Aarons (1916-2006), a fellow photographer whose photobook
A Wonderful Time has been described as “one of the two
greatest fashion books ever published” (New York Times). As
Weegee died of a brain tumor in 1968, inscribed copies of his
autobiography are scarce. Book fine; light edge-wear to
bright near-fine dust jacket.

194
 edward weston

“The Majesty Of The Moment”

191. (WESTON, Edward) WHITMAN, Walt. Leaves of Grass. New York, 1942. Two volumes. Tall quarto,
original pictorial boards, slipcase. $5200.

The Limited Editions Club Leaves of Grass, one of only 15 presentation copies, with 50 finely-screened halftones
by Edward Weston, signed by him in the colophon of Volume II. Additionally inscribed by Van Doren, who wrote
the introduction, “To George Genzmer, poet and photographer, from Mark Van Doren, 1/28/43.”

“Whitman has remade the language, he has transcended the weariness which words can make us feel” (Van
Doren). Printed by Aldus in New York, this edition of Whitman’s Leaves of Grass is illustrated with 50 striking
images by Edward Weston, whose own language speaks “the majesty of the moment” (Icons of Photography, 74).
The photographs, all printed on coated stock, were taken expressly for this work in 1941 and 1942 and reflect
Weston’s wide-ranging interests and his remarkable eye for detail. “Weston is one of the greatest artists of the
20th century… His carefully composed, carefully printed images of natural objects and the human body have
influenced photographers until the present day. His artistic photos have become the standards by which later
photographic practice has been judged” (McDarrah, 529). Famous Columbia professor and Whitman scholar
Mark Van Doren edited The Indispensable Walt Whitman (1945) and The Portable Walt Whitman (also 1945), the
latter still in print. Without original glassines. LEC
141. Myerson C72.1.a. Text and photographs fine,
slight rubbing to spine ends, slipcase with minor
rubbing to paper label. A near-fine copy.

195
 edward weston

“Subject Matter Is Everywhere: It May Be An Old Shoe,

A Cloud, Or My Own Backyard”
192. WESTON, Edward. Fifty Photographs. New York, 1947. Quarto, original half black cloth, dust
jacket.  $5600.

Signed limited first edition of Weston’s own selection of his 50 “favorite photographs,” none of which had
previously appeared in book form, number 530 of 1500 copies initialed by Weston. A beautiful copy in the
fine original dust jacket. An exceptional copy.

“Possibly no one in our time has explored so many facets and recorded so
many aesthetic possibilities” (Merle Armitage). “I do not know any formal
rules of composition,” Weston writes in his Epilogue, “nor do I recognize
any boundaries to subject matter. Subject matter is everywhere: it may be
an old shoe, a cloud, or my own backyard.” With essays by Robinson
Jeffers, Merle Armitage, Donald Bear, and Weston himself, this collection
reflects Weston’s remarkable range as a photographer, from vast landscapes
to intimate portraits, none of which had previously appeared in book form.
“It makes visible the real legacy of Weston’s work, the way it influenced so
much of what would come after” (Roth, 128). When this book was planned
and executed, it was decided that Weston, who was suffering from
Parkinson’s disease, would initial the volumes, rather than sign them.
Icons of Photography, 74. Open Book, 150. A stunning copy in fine condition,
only rarely found thus.
196
 edward weston

“My ‘Flaming Cypress Root’— I Have Never Made A Negative

That Pleased Me More”
193. WESTON, Edward. My Camera on Point Lobos. Boston, 1950. Folio, original spiral-bound black paper
boards, dust jacket.  $1800.

First edition, with 30 beautiful folio-sized duotone plates of the rugged California coastline near Carmel, together
with excerpts from Weston’s daybook.

“The work and the working methods of Edward Weston both serve as invaluable
examples to all photographers. Apart from the profound expressive qualities of
his photographs—and their revelation of a remarkable philosophy of life—they
proclaim a technique of great power and unique simplicity. Here are no frills
and mannered complexities, no distortions of the medium in its most
straightforward form. Both the negative and the prints have emerged from a
darkroom which is equipped with the fewest necessities of the craft… Yet from
this simple installation comes some of the great photography of our time” (Ansel
Adams, “A Note on the Photographs”). With an introduction by Weston’s
assistant and daughter-in-law, Dody Weston. Book and beautiful, striking plates
(including “Cypress Root, 1929”) in fine condition. Moderate soiling and
chipping to original very good dust jacket, with rear flap expertly reattached.

197
 bernhard wicki

“Expressive, Personal Meditation On Life”

194. WICKI, Bernhard. Zwei Gramm Licht [Two Grams of Light]. Zürich, 1960. Quarto, original black cloth, dust
jacket.  $3200.

First edition, the only photobook by renowned photographer/filmmaker Wicki to be

published in his lifetime, with 71 “ravishingly dark gravure” plates (Parr & Badger).

“Zwei Gramm Licht is an expressive, personal mediation on life, and the pictures, by
the Swiss filmmaker Bernhard Wicki, are moody, dark and grainy… This mood is
emphasized by the ravishingly dark gravure printing, craggy urban portraits, a
wrecked car, grizzled tramps… This is a fine photobook, an urban mood piece that
chronicles Bernard Wicki’s wanderings across the postwar European landscape”
(Parr & Badger I:215). “One of the best known film directors of postwar Germany” for
films such as Die Brücke (The Bridge, 1959), Wicki (1919-2000) first discovered his
passion for still photography on seeing the work of Robert Capa, and throughout the
1950s explored the streets of Munich, New York, Paris, Tangiers and Vienna with his
Rolleiflex and Hasselblad (New York Times). A scarce, exceptionally fine copy.

198
 richard wright

“Look At Us, And Know Us And You Will Know Yourselves”

195. WRIGHT, Richard. 12 Million Black Voices. A Folk History of the Negro in the United States. New York, 1941.
Quarto, original tan cloth, dust jacket.  $3000.

First edition, with text by Richard Wright, featuring over 85 black-and-white photogravures from the landmark
photographic unit of the FSA—memorable images by Dorothea Lange, Walker Evans, Ben Shan and others—“some of
the best and most ambitious photographers” of the 1930s (Parr & Badger). With extremely scarce original dust jacket
featuring Walker Evans’ FSA photograph, “Flood Refugees, Alabama.”

In the spirit of James Agee and Walker Evans’ innovative Let Us Now Praise
Famous Men, published the same year, Wright’s impassioned essay on African-
Americans is interwoven with images by some of the finest photographers
working for the Farm Security Administration (FSA). The “photographic unit of
the Farm Security Administration has come to epitomize documentary
photography. This is not only because some of the best and most ambitious
photographers worked for it, including Walker Evans, Dorothea Lange, Ben Shan
and Russell Lee, or because they produced some of the most iconic images of the
decade… It is also because… the archive of the unit provided the illustrations for
a wide range of publications,” primarily this striking photobook, authored by
Richard Wright (Parr & Badger I:121-122). In addition to featuring a cover
photograph by Walker Evans, 12 Million Black Voices includes seven images by
Lange and three by Shahn, as well as work by the FSA’s most notable photographers,
in particular Arthur Rothstein, Russell Lee, Jack Delano, Marion Post and John
Vachon. Edited by Edwin Rosskam, who went outside the FSA archive for images
of lynching and racial violence, this controversial book prompted the FBI’s
investigation into Wright’s politics. A fine copy, with scarce original dust jacket
with only light wear to extremities, rarely seen in this condition.
199
 535 m a d i s o n a v e n u e
b e t w e e n 54 t h a n d 55 t h s t r e e t s
n e w y o r k , n y 10 022

200 www.baumanrarebooks.com 1-800-99-b a u m a n