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Simon Finch Rare Books Catalogue No.64

PHOTO

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ADAMS, Robert. Commercial Residential. Landscapes Along the Colorado Front Range, 1968-1972. [New York]: (PPP Editions in association with Roth Horowitz LLC, 2003). £325

Oblong 8vo (202 × 228 mm), pp.[88]. 40 black-and-white photographs. Original black paper-covered boards, upper side lettered in white, with grey spine. Original black rubber dustjacket, title embossed in blind to upper panel. Original black paper over board slipcase. Design by Alexander Gelman and Andrew Roth. Numbered with author’s signature in black ink to title-page. Fine. First edition, one of 1000, this being number 42 of 50 slipcased copies signed by the author. This book is divided into two sections showing the development of private and public spaces in the American West. The photographs were taken around the same time as those for his ﬁrst book The New West (1974), but were omitted from that publication. In the introduction Adams writes ‘I am grateful now for an opportunity to reproduce them. They record a geography that is still characteristic, one where we could do better, but where the rest is faultless.’ Adams was included in the 1975 ‘New Topographics’ exhibition i[[ _j[c /. and is an important ﬁgure in that movement.

Folio (381 × 274 mm), pp.[v], [1] blank, 50 plates printed in gravure with guards. Original navy cloth, spine lettered in gilt, arms in gilt to upper side; light markings to upper side, rubbing to cloth at hinges, endpapers replaced. Top edge gilt other edges uncut with the exception of plate 38. The ﬁrst photographic study of an inner city slum, one of 100 copies specially printed for the Corporation of Glasgow. Thomas Annan, a Scottish commercial photographer, was commissioned by the Glasgow City Improvement Trust to photograph the areas of the town which were to be demolished following the Glasgow City Improvements Act of 1866. He made a small number of albums for members of the Corporation containing albumen prints and in 1878-9 an edition was issued containing 40 carbon prints. The present volume was issued by the Annan family under their own imprint and is one of two photogravure editions printed in 1900, the other being by James MacLehose & Sons, publishers to the University of Glasgow. Both these editions were limited to 100 copies and contain the same 50 plates. These include twelve photographs made after Annan died in 1887. It is assumed that the additional pictures were made by his eldest son John, while the gravures for both 1900 editions were made by his other son, the noted pictorialist photographer James Craig Annan, a member of The Linked Ring and contributor to Camera Work. FWhh WdZ 8WZ][h _ */

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ARAKI. Nobuyoshi. Tokyo. (Tokyo: Fukusha-shudan Geribara, 1973). £2,750 2 i[[ f$+

[ANNAN, Thomas.] Glasgow City Improvement Trust / The Old Closes and Streets / A Series of Photogravures 1868-1899. Glasgow: T. & R. Annan & Sons, 1900. £6,500

4to (257 × 130 mm), pp.[56]. 56 black-and-white photographs. Original wrappers, text printed in green; one staple but holding. Near-ﬁne. First edition, one of 1000 copies. Araki juxtaposes two photographs, one above the other, most of which show commuters crossing the streets of Tokyo paired 34 r A

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with pictures of women posing nude or engaged in solo sexual activities. The Fukushu-Shudan Geribara [Diarrhoea-Shit Reproductive] Collective consisted of Araki, Fukuo Ikeda, Tomoko Kamiguchi, Naohosia Tabogami, Yoshio Takase and Koji Yaehata. They emerged following the disbanding of the Provoke group and published three books in 1971: Benjo [Toilet], Mizugi no Yangu Redii-Tachi, (Young Ladies in Bathing Suits) and Five Girls.

ARAKI, Nobuyoshi. Kakyoku (It’s Flower Fuckin!). (Tokyo: Shinchosha, 1997). £375

ARAKI, Nobuyoshi. Araki Nobuyoshi no nise ruporutaju [Nobuyoshi Araki’s Pseudo-Reportage]. (Tokyo: Byakuya Shobo, 1980). £325

4to (256 × 171 mm), pp.[330]. 821 black-and-white photographs. Original metallic endpapers illustrated with blackand-white photographs. Original cream wrappers printed with silver grid design, silver text to spine and lower side; toning to extremities, slight wrinkling to front endpaper. Original metallic dust-jacket, text and grid design printed in pink and illustrated with photographs on upper and lower panels; inside toned with light rubbing to edges. Original obi printed in pink, black text, and with a small portrait of Araki; rubbed at rear hinge. First edition. Araki’s skilful parody of documentary photography, divided into sections, each dated and spanning April 1977 – August 1979. His subjects here include singers, bathers, female kick-boxers, theatre performers, couples, models and prostitutes. There are also photographs Araki took whilst in New York for the opening of the exhibition ‘Japan: A Self-Portrait’ at the International Center of Photography (April – June 1979). This important exhibition was curated by Shoji Yamagishi and helped many of the exhibitors to establish international reputations. Araki’s work was included alongside that of Shomei Tomatsu, Ikko Narahira, Masahisa Fukase, and Daido Moriyama amongst others.

4to (293 × 220 mm), pp.[247], [1] blank, [1] imprint, [1] blank. 118 colour photographs. Original paper-covered boards, spine lettered in silver; small dent to top and bottom of upper side. Original dust-jacket illustrated with a colour photograph on upper panel. Original obi, text printed in black and grey; light creasing to rear, closed tear at hinge. Near-fine in a fine dustjacket with obi. First edition of this collection of flower photographs in which Araki meditates on sex and death. ‘That’s when they’re the most alive,’ he says, ‘just before they die. It’s a final sexual spasm – and then, lights out.’ As a child Araki was fascinated by the way that flowers left at the gravesites of a temple close to where he lived would wither and die. This fragility of life and proximity of death would become a recurring theme throughout his work.

BALLEN, Roger. Dorps / Small Towns of South Africa. (Cape Town): Clifton Publications, 1986. £200

4to (283 × 236 mm), pp.[144]. 66 black-and-white photographs. Original grey paper-covered boards, lettered in black to spine and upper side; corners lightly bumped. Original dust-jacket, text printed in black and grey, illustrated with a black-andwhite photograph to upper panel; light sunning to spine, corners bumped, short closed tear and scratch to lower panel.

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First edition. Ballen was born and raised in New York City but is best known for his photographs taken in South Africa where he has lived since 1982. Whilst travelling through the country he developed an interest in the small towns (Dorps) he passed through and spent three years photographing the inhabitants and the interiors of where they live and work. Ballen pays particular attention to the way that various items are collected and arranged on the walls. He writes in his introduction that since he began work on this project many of the places that he photographed have disappeared, and that in many ways he felt as though he were recording the elements of a dying culture.

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BALTZ, Lewis. San Quentin Point. Essay Mark Haworth-Booth. Millerton and Berlin: Aperture Inc., in association with Verlag Zwölftes Haus, [1986]. £250

4to (267 × 280 mm), pp.[viii], 58 black-and-white photographic plates, [14], [2] blank. Original black cloth, spine and upper side lettered in black; binding slightly shaken, light red mark to lower edge. Original dust-jacket, printed in black and illustrated with a black-and-white photograph on upper panel; small chip to top right corner. Original acetate outer jacket, upper panel lettered in black; rubbed and with a short tear to head of front panel fold. Design by Baltz and Gabriele F. Götz. First edition, one of 1200 copies. Baltz was another important figure within the New Topographics movement i[[ _j[c /. . These photographs of the wasteland at San Quentin Point were taken in 1982-83 and form the final part of a loose trilogy which began with Baltz’s photographs of office blocks and factory facades in The New Industrial Parks Near Irvine California (1974) and continued with Park City (1980), where he documented the construction of a ski resort near Salt Lake City. ‘The Baltz trilogy could be said to be about process – the ubiquitous and disregarded processes of modern civilization such as building, display, redundancy and disposal, as well as the process of making these visible through photography’ FWhh WdZ 8WZ][h __ )* .

BAUMGARTEN, Lothar. Carbon. Los Angeles: The Museum of Contemporary Art and Pentti Kouri, (1991). £750

Oblong folio (303 × 382 mm), pp.144. 104 black-and-white photographs. Original paper-covered boards, printed in grey with yellow design to upper and lower sides, spine lettered in yellow and grey; corners bumped. Original dust-jacket printed in yellow, and illustrated with a colour photograph on upper panel, text printed in grey on reverse; short closed tear to rear panel. Laid in to sleeve at rear is the original stitched pamphlet, 4to (282 × 210 mm), pp.32. Original wrappers printed in black and green; short closed tear to upper and lower sides. Design by Baumgarten and Walter Nikkels. Author’s signature in pencil to the colophon and again in the text pamphlet. Near-ﬁne. First edition, one of 1750 copies. Over a ﬁve month journey taken by train and car in 1989, Baumgarten made a series of photographs documenting the tracks, bridges, stations and local environs of a part of the US railway system. Opposite these photographs and occasionally overlayed are the names of railroad companies and Native American tribes relocated in the course of the networks expansion. The letterpress pamphlet contains seven (of forty) short stories Baumgarten wrote during his travels. In addition Michael Oppitz contributes four stories. Hej^ (,.#/$

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BECHER, Bernhard und Hilla. Anonyme Skulpturen. Eine Typologie technischer Bauten. (Dusseldorf): Art-Press Verlag, (1970). £2,500

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4to (279 × 219 mm), pp.[215], [1] blank. 196 black-and-white photographs. Original blue cloth, spine and upper side lettered in white. Original dust-jacket illustrated with black-and-white photographs, text printed in black; a little light soiling, two short closed tears to lower panel and one to upper and light nicks to head of spine. Ex libris stamp in blue ink to imprint. Text in German, English and French. Fine in a near-fine dustjacket. First edition of the Bechers’ first book. These photographs were taken between 1961 and 1970 of industrial structures in Great Britain, Wales, France, Belgium, Holland and Germany. Anonyme Skulpturen is divided into seven chapters each introduced with a short text detailing the function of the industrial buldings pictured. The types of building included are lime-kilns, cooling-towers, blast furnaces, windingtowers, water-towers, gas holders and silos. Each is photographed in the same direct way and captioned with the same information: type, date built, location, and date photographed. ‘They are generally buildings where anonymity is accepted to be the style. Their peculiarities originate not in spite of, but because of the lack of design.’ The Bechers’ students at the Kunstakademie, Dusseldorf have included Candida Höfer i[[ _j[c ,( , Thomas Struth, Thomas Ruff, Andreas Gursky and Axel Hütte i[[ _j[c ,- . Ef[d 8eea (+.#/1 FWhh WdZ 8WZ][h __ (,,1 Hej^ '/*#+$

BECHER, Bernhard und Hilla. Vergleiche technischer Konstruktionen. 4.- 26. März 1971. Katalog 22 (2/1971). Aachen: Gegenverkehr e. V. Zentrum für aktuelle Kunst, 1971. £200

8vo (198 × 209 mm), pp.[32]. 72 black-and-white photographs. Original staple-bound wrappers, text printed in black and illustrated with a black-and-white photograph on upper side; light rubbing to lower side with slight sunning to extremities, previous owner’s stamp in purple ink to inside cover. Near-ﬁne. First edition of this catalogue for an early Bernhard and Hilla Becher exhibition at the Zentrum für aktuelle Kunst in Aachen.

Bifur. Paris: Éditions du Carrefour, (1929-1931). £1,750 8 vols, large 8vo (238 × 190 mm), pp.192; 192; 192, [12] advertisements; 196, [16] advertisements; 188, [12] advertisements; 176, [8] advertisements; 170, [6] advertisements. 130 blackand-white photographs. Uncut, some volumes unopened. Original wrappers. Vol.3 wrapper partially loosened at head of spine, vol.6 short tears to foot of upper and lower panels, vol.7 wrapper detached from spine. Occasional spotting to some leaves in all vols, but nonetheless a near-ﬁne set. Vol.1 with publisher’s advertisement, pamphlet and subscription card loosely inserted. Each vol. with stamped number under imprint details. First edition, the complete run, from 25 May 1929 to 10 June 1931. Established by Pierre Lévy, founder of Éditions du Carrefour, Bifur provided a forum for many of the Surrealists who had been alienated from Breton’s group. In Breton’s Second Surrealist Manifesto (1929) he described it as a ‘remarkable repository for garbage’. It published poetry, prose and photographs. Contributors included: Tzara, Malraux, Prévert, Kafka, Heidegger, Sartre, Hemingway, Joyce, Langston Hughes, Tabard, Kerstsz, Moholy-Nagy, Man Ray and Claude Cahun. Cahun’s portrait, ‘frontière humaine’, in vol.5, narrowly predates the celebrated publication of her photographic work in Aveux non avenus i[[ _j[c '/ .

BILLINGHAM, Richard. Ray’s a laugh. (Zurich: Scalo, 1996). £350

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4to (279 × 210 mm), pp.[96]. 50 colour and 2 black-and-white photographs. Original endpapers each illustrated with a colour photograph. Original paper-covered boards, printed in peach, text in burgundy. Original dust-jacket illustrated with a colour photograph, text printed in black; light chipping to head and foot of spine, light rubbing to upper and lower panels at hinges. Fine in a very good dust-jacket. First edition. Billingham’s brutally honest photographs of his family were originally taken to be used as a reference for his paintings. ‘My father Raymond is a chronic alcoholic. He doesn’t like going outside and mostly drinks homebrew. My mother Elizabeth hardly drinks but she does smoke a lot. She likes pets and things that are decorative. They married in 1970 and I was born soon after. My younger brother Jason was taken into care when he was 11 but is now back with Ray and Liz again. Recently he became a father. Ray says Jason is unruly. Jason says Ray’s a laugh but doesn’t want to be like him.’ Robert Frank writes on the jacket of being able to ‘see and hear what goes on between the frames. No room for judgement or morality… Reality and no pretence.’ FWhh 8WZ][h __ )&*#)&+$

BLOSSFELDT, Karl. Wundergarten Der Natur. Neue Bilddokumente schooner Pﬂanzenformen. Berlin: Verlag für Kunstwissenschaft, 1932. £1,750

Folio (320 × 244 mm), 120 gravure plates loose as issued, stapled booklet pp.xvi. Brown card and grey cloth chemise, spine and upper side with lettering and plant motif after plate 47, printed in red; light foxing to title-page otherwise fine. First edition, one of an unspecified number of copies issued loose. Blossfeldt began photographing these botanical studies in the late 1890s for use by students of industrial design and the applied arts at the Berlin Kunstgewerbemuseum where he taught. From these formally precise studies of the geometry of plants and flowers, made over a period of thirty years,

he began to explore the link between the structure of plants and artistic form. Ef[d 8eea '&,#-$

BOUCHER, Pierre, etc. and ALLAIS, Emil. How to Ski by the French method / Emile Allais’ Technic / Preface by Frison-Roche / Photos and Layout by Pierre Boucher / Translated from the French by Agustin R. Edwards... New York: New Directions, (1947). £500

Folio (300 × 240 mm), pp.112 (almost all pages illustrated), plus 9 colour plates. Original illustrated wrappers, text in red, white and black to upper side. Dust-jacket, printed in blue, with skiing man design in white and text in white and red to upper side; slightly rubbed, upper side has a small piece missing from bottom edge, several short closed tears and nicks. Discrete shop sticker to front free endpaper, gift inscription in ink to second free endpaper. Fine in a very good jacket. First edition, issued simultaneously in France and the USA. How to Ski presents a step-by-step guide to the revolutionary new method pioneered by Allais in the 1930s. Allais’s text is perfectly complemented by Boucher’s design, which, in a series of photographs and photomontages, delineates the relationship between the skier’s body, the skis and the slope.

BRANDT, Bill. The English at Home / Sixty-Three Photographs... introduced by Raymond Mortimer. London: B. T. Batsford, Ltd., 1936. £700

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4to (232 × 182 mm), pp.[i], 1, viii, 2-63. 63 black-and-white photographs reproduced in gravure. Original paper-covered boards printed in yellow and red, illustrated with black-andwhite photographs to upper and lower sides; corners and extremities lightly rubbed, small dent to upper and lower board at fore-edge. First edition of Brandt’s ﬁrst book, which with its combination of spontaneous and occasionally posed photographs shows life in Britain between the wars. By juxtaposing photographs that contrast and highlight the two extremes of the well-deﬁned class system, Brandt’s portrayal of English types and stereotypes shows a nation divided behind a façade of civility. In his introduction Raymond Mortimer describes Brandt as having ‘the eyes and the temperament of an artist… being surprised and excited by things other people would not notice… not only an artist but an anthropologist.’

‘Bill Brandt’s pictures are not portraits: they are generalisations. He is not so much concerned about individuals as about types… As opposed to the ideas of candid portraiture, it does not matter for his purposes that the people he is photographing may be aware of his presence or may even be holding it for him. Nor does this sort of posing, if it can be called that, aﬀect the truth of his pictures. Truth is not accidental.’ Ef[d 8eea '(,#- <h[dY^ _iik[ 1 FWhh WdZ 8WZ][h _ ').$

BURRI, René. Die Deutschen. Aufnahmen von René Burri / Auswahl der Texte von Hans Bender. (Zurich & Stuttgart): Fretz & Wasmuth, (1962). £425

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BRANDT, Bill. A Night in London / Story of a London Night in Sixty-Four Photographs... Introduced by James Bone. London, Paris and New York: Country Life, Arts et Métiers Graphiques and Charles Scribner’s Sons, (1938). £3,950

4to (250 × 187 mm), pp.[viii], 64. 64 black-and-white photographs reproduced in gravure. Original wrappers illustrated with a black-and-white photograph to upper cover, text to spine in black. Light soiling to lower side, crease to corner of upper side, short split at hinge expertly restored. First edition, published simultaneously in French and printed with bilingual captions. The narrative of A Night in London begins at dusk and ﬁnishes at dawn with milk and newspapers left on the doorstep. As with his ﬁrst book The English at Home (1936) i[[ WXel[ , Brandt staged some of the pictures using a cast consisting of friends and family. In the introduction to his later book Camera in London (1948) the issue of the constructed nature of his photographs is addressed.

Oblong 8vo (184 × 211 mm), pp.170. 80 black-and-white photographs. Original cream cloth, spine lettered in black. Original dust-jacket, text printed in brown and black and illustrated with black-and-white photographs to upper and lower panels; thin line of soiling to the top and bottom edges, laminate lifting at spine. Publisher’s reply card laid in, ex libris stamp in blue ink to imprint with shelf mark in pencil. Fine in a near ﬁne dust-jacket. First edition of Burri’s ﬁrst book. It was edited in collaboration with Robert Delpire who published a French edition, Les Allemands, a year later as a part of his Encyclopédie essentielle series which included Robert Frank’s 1958 book Les Americains i[[ _j[c )/ . As with Frank’s book, the photographs are accompanied by printed extracts from texts by various authors. ‘We might say that Die Deutschen is about what it purports to be about – Germany – while Les Américains is as much about Frank as it is the United States. This is not to say that Burri is lacking his own opinion, but that as an objective journalist ‘he allows for other opinions in the work’ FWhh . FWhh WdZ 8WZ][h _ ('.$

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William Burroughs photographed by Brion Gysin.

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BURROUGHS, William. The ticket that exploded / The traveller’s companion series (no.91), Qm_j^0S Miscellaneous material. Paris: The Olympia Press, (December 1962). £2,000

8vo (174 × 110 mm), pp.183, [1] blank. Original wrappers, green with white border, text in black, price stamp on back ‘Olympia Press / 9 francs 25’. Dust-jacket, incorporating photograph of Burroughs by Gysin printed twice on flaps, once in red; slightly rubbed, one very small tear to fold, and soiled around spine. A fine copy in a very good jacket. QM_j^0S Gelatin-silver photograph of Burroughs by Brion Gysin, 140 × 92 mm. Q7dZ0S Typewritten letter from Burroughs to Simon Vinkenoog, undated [c.1962]. Single sheet, 270 × 210 mm, a full page of typescript, signed and with underlinings by Burroughs, a half page of manuscript notes on the verso, in another hand, dated 18.6.1979. Q7dZ0S Offprint from Randstad issue 4, Dutch translation by Vinkenoog of ‘Outskirts of the City’, a section from Burroughs’s Nova Express. 205 × 125 mm, pp.12, with additional cuttings stapled in. First edition of The Ticket That Exploded, with three other documents relating to Burroughs’s literary activities in 1962-3. The photograph, taken by Brion Gysin, is an alternate take of the photograph which was used on the dust-jacket.

edition of 500. Slip of paper loosely inserted stamped with copy number. Near-fine. First edition. Claude Cahun and Marcel Moore are the pseudonyms used by Lucy Schwob and her lifelong lover and step-sister Suzanne Malherbe. Though Cahun saw herself primarily as a writer and viewed her photographic work as a largely private pursuit, it is for her self-portraits that she is now best known. Aveux non Avenus contains Cahun’s philosophical texts and literary aphorisms, interspersed with photomontages by Moore and self-portraits by Cahun. In 1937 the couple settled in Jersey. After the German occupation in 1940 they became active resistance fighters and propagandists, printing anti-Nazi flyers and impersonating German soldiers in order to distribute them. For four years this twowoman operation successfully gave the impression of a large-scale resistance movement. They were eventually captured and sentenced to death, but were freed after the Allied liberation of the Channel Islands. <eje]hWÉW FkXb_YW '(( 1 Ef[d 8eea /(#)1 Hej^ ,(#)$

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CALLAHAN, Harry. Eleanor. (New York and Carmel, CA.: Callaway and The Friends of Photography, 1984). £350 19

CAHUN, Claude. Aveux non Avenus. Illustré D’Héliogravures Composées par Moore D’Après les Projets de L’Auteur. Préface de Pierre Mac Orlan. Paris: Éditions du Carrefour, (1930). £4,500

8vo (217 × 165 mm), pp.[iv], 238, [3] table, [1] blank, [1] imprint, [1] blank. 10 photographic plates printed in heliogravure, one illustration in text. Uncut, partially unopened. Original wrappers printed in black, grey and red; very lightly soiled, mild sunning to spine, glassine lightly worn. Number 268 of 370 copies on vélin pur ﬁl Lafuma from a total

4to (254 × 202 mm), pp.64. 46 black-and-white photographs. Original wrappers, printed in black and illustrated with blackand-white photographs; lightly rubbed at corners. Near-fine. First edition, signed by both Callahan and his wife Eleanor. As an important and influential teacher, Callahan headed the photography department at the Chicago Institute of Design and later at the Rhode Island School of Design. He would often encourage his students to turn their cameras onto their own lives and led by example with these photographs of his wife. Callahan has experimented with various techniques in a bid to see things differently from the way he saw them before. ‘That is seeing photographically, and when you see things photographically you really see.’

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Annie and Henry Rogers photographed by Lewis Carroll.

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CARRIERI, Mario. Milano, Italia. (Milan): C. M. Lerici Editore, 1959. £1,400

CARTIER-BRESON, Henri. Images à la Sauvette. Paris: Éditions Verve, (1952). £2,250

4to (284 × 241 mm), pp.[ii] blank, 164. 135 black-and-white photographs. Original black and white pictorial boards; light rubbing to corners. Original dust-jacket illustrated with a photograph printed in red and black on upper and lower panels, text in black, black-and-white author’s photograph to rear ﬂap; repaired, creased, lightly toned with occasional scratches and sunning to spine. Publisher’s slip laid in, bookseller’s ticket pasted on to rear endpaper. First edition. Carrieri was associated with the Italian neo-realist photographers and was inﬂuenced by William Klein’s Life is Good & Good For You in New York… (1956). His is a similarly raw view, though his layout is slightly more restrained and he does not share as much in the wisecracking style that is evident in much of Klein’s work. Carrieri spent time photographing in the suburbs as well as in the centre of Milan, focusing his attention mostly on the less glamorous working side of this hard Italian city. In the same year as Milano, Italia, Klein published his own impressions of Italy in Rome: The City and Its People.

Folio (360 × 269 mm), pp.[155]. 126 black-and-white photographs reproduced in gravure. Original paper-covered boards printed in black, blue and green designed by Matisse; very light toning to spine, edges lightly rubbed. Captions bound-in as issued. Near-ﬁne. First edition, French issue. Conceived by Tériade (pseud. of Elfstratios Eleftheriades), editor of Minotaure and founder of Verve, who made a number of deluxe books with artists such as Matisse, Miró and Léger. The photographs in this collection perfectly illustrate Cartier-Bresson’s notion of ‘l’instant décisif’. Ef[d 8eea '+*#+$

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CARTIER-BRESSON, Henri. The Decisive Moment. New York: Simon and Schuster in collaboration with Éditions Verve, Paris, (1952). £2,250

CARROLL, Lewis, pseud. of C. L. Dodgson. Annie and Henry Rogers. [c.1861]. £7,500

Vintage albumen print (149 × 194 mm), mounted on board with notation in black ink ‘Taken by Rev. C. L / Dodgson. / date uncertain. / about 1860. / Annie & Henry Rogers.’ A little light creasing, one small chip and 3 short tears to lower edge. Annie and Henry Rogers were children of James Edwin Therold Rogers, an Oxford professor of political economy. The Rogers family and Annie in particular were frequent photographic subjects for Dodgson. D_Ya[b" fbWj[ )&$

Folio (360 × 269 mm), pp.[162]. 126 black-and-white photographs reproduced in gravure. Original paper-covered boards printed in black, blue and green designed by Matisse; head and foot of spine bumped, light rubbing to tips, thumb-size area at foot of spine toned. Original dust-jacket printed in silk screen in imitation of boards; spine very lightly toned, split to tips, thumb-size area missing from head and foot of spine. Laid in is the caption booklet (317 × 238 mm), pp.[12]. Afterword by Richard Simon. Near-ﬁne in a very good dust-jacket.

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Letter from Robert Crumb to Charles Gatewood.

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First American edition, issued simultaneously with the French. In his preface Cartier-Bresson writes ‘To me, photography is the simultaneous recognition, in a fraction of a second, of the signiﬁcance of an event as well as of a precise organization of forms which give that event its proper expression… if the shutter was released at the decisive moment, you have instinctively ﬁxed a geometric pattern without which the photograph would have been both formless and lifeless.’ Ef[d 8eea '+*#+1 FWhh WdZ 8WZ][h _ (&.#/1 Hej^ ')*#+$ 25

CRUMB, R. Autograph letter signed with an original drawing. c.1981. £5,000

One leaf of ruled notebook paper, 239 × 162 mm, autograph script, signed and with an original drawing all in black ink; very lightly toned with two short pieces of tape to bottom edge. This letter was reproduced in the foreword to Charles Gatewood’s book Forbidden Photographs (1981).

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CUMMING, Robert. The Weight of Franchise Meat. (Orange Co., California: privately printed, 1971). £750

8vo (239 × 162 mm), pp.[16]. 16 black-and-white photographs. Original stapled wrappers, text and drawing printed in black to upper side. Previous owner’s initials in purple ink to inside front cover, ‘Light Impressions’ distributor’s sticker to rear cover. Wrappers lightly rubbed. Near-ﬁne. First edition, limited to 500 copies. Much of Cumming’s work is concerned with parodying popular science, often taking the form of methodically documented experiments. For this work Cumming took hamburgers from various chain restaurants; he then photographed each whilst on the scales alongside a card stating the weight, chain, name of the burger, eat-in or take-out, price and the date photographed. FWhh WdZ 8WZ][h __ '*,#-$

DELAMOTTE, Philip H. The Practice of Photography / A manual for Students and Amateurs... Second edition, revised. Illustrated with a photographic picture printed from a collodion negative. London: Photographic Institution and Low and Son, 1855. £1,750

Small 8vo (180 × 115 mm), pp.viii, 166, [10] advertisements, frontispiece albumen print from collodion negative by the author. Original cloth, green, upper and lower sides decorated in blind, lettering to upper side in gilt; some soiling, cloth faded in places. Early treatise on photography, detailing processes both on paper and on glass (albumen and collodion). Delamotte (1820-89) was best known for his series of photographs of the Crystal Palace, taken shortly after the Great Exhibition of 1851. The frontispiece of the present volume shows one such scene: models of two of the four vast ﬁgures of Ramses II which dominate the temple of the sun-gods at Abu Simbel. The work was ﬁrst published in 1853; a third edition appeared in 1856. Despite this contemporary success, it is now rarely seen, and no copy has been sold at auction for over thirty years.

DICORCIA, Philip-Lorca. Heads. With an essay by Luc Sante. (Göttingen: SteidlBoxPacemacgill, 2001). £150

Oblong folio (365 × 294 mm), pp.[40]. 17 colour photographs. Original black cloth, spine lettered in white; bump to foot of spine. Original dust-jacket, printed in black; scuﬀ mark to front panel. Author’s signature in black ink to title-page. Near-ﬁne.

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First edition, signed. In his previous series of street portraits, Dicorcia had meticulously framed each shot, set up strobe lights and then waited for people to enter the scene. In Heads he uses a similar technique but with tighter framing which almost eliminates the background, further blurring the line between documentary and the constructed image. 30

EGGLESTON, William. Election Eve / December 10, 1977 – January 22, 1978. Washington, DC: The Corcoran Gallery of Art, (1977). £175

4to (202 × 279 mm), pp.[16]. 3 colour photographic plates tipped-in. Original blue wrappers, text printed in black; lightly rubbed. Near-ﬁne. Prospectus for Eggleston’s Election Eve portfolio which was issued as the catalogue for the exhibition at the Corcoran Gallery of Art.

DIJKSTRA, Rineke. Beaches. (Zurich: Codax Publisher, 1996). £1,500

Folio (339 × 239 mm), pp.56. 18 colour photographs. Original silver paper-covered boards, spine lettered in black, upper side lettered in orange and black with a black-and-white photograph affixed. No dust-jacket as issued. Laid in is a letter regarding the publication from Dijkstra’s gallerist Bob van Orsouw. Text by Birgid Uccia in German and English. Design by Weiersmüller Bosshard Grüninger. Fine. First edition and the first collection of this important series. With a style reminiscent of classical portraiture Dijkstra manages to capture something of the emotional state of her adolescent subjects. ‘For me it is essential to understand that everyone is alone. Not in the sense of loneliness, but rather in the sense that no one can completely understand someone else. I know very well what Diane Arbus means when she says that one cannot crawl into someone else’s skin, but there is always an urge to do so anyway. I want to awaken definite sympathies for the person I have photographed.’ These photographs were taken on beaches in Europe and the United States. Dijkstra chooses her subjects carefully, looking for a gaze or gesture that sets them apart from other adolescents. They are then photographed on their own or in groups of two and three. FWhh WdZ 8WZ][h __ (--$

ELSKEN, Ed van der and BERENDT, Joachim E. Foto Jazz / 116 bilder. (Munich): Nymphenburger Verlagshandlung, (1959). £400

8vo (178 × 169 mm), pp.23, [vii] captions, 80, [ii] blank. 111 black-and-white photographs. Original laminated papercovered boards. Upper side illustrated with a black-and-white photograph, overprinted in green, text in yellow and white. Lower side printed in green, spine yellow with text in black. Light bump to head of spine with nick to foot. Near-ﬁne. First edition, German issue. ‘The hidden soundtrack of Een liefdesgeschiedenis in Saint Germain des Prés [Love on the Left Bank]’ (1956): photographs of jazz musicians spliced with pictures of the audience taken during performances in Amsterdam and The Hague. Van der Elsken’s layout captures the freeform nature of the music and the energy of performers and crowd alike. Ef[d 8eea '.*#+ :kjY^ _iik[ 1 FWhh WdZ 8WZ][h _ (*,1 Hej^ '+,#- :kjY^ _iik[ $

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ELSKEN, Ed van der. Sweet Life. Amsterdam: De Bezige Bij, 1966. £500

4to (292 × 296 mm), pp.[xxxii], 180. 151 black-and-white photographs. Original black cloth, spine and upper side lettered in white; light foxing to upper edge. Original dust-jacket illustrated with a black-and-white photograph to upper panel, printed in red; damp stain affecting inside of the rear panel and just visible to lower board. Head of spine and rear panel at flap have short closed tears repaired with tape, corners chipped. Near-fine in a very good dust-jacket. First edition, Dutch issue. Sweet Life, like William Klein’s New York… (1956) and Warhol’s Stockholm catalogue i[[ _j[c ')& was very popular amongst the emerging generation of Provoke-era Japanese photographers, who seized on many of the ideas in these books. The photographs were taken between 1959 and 1960 whilst Van der Elsken and his wife travelled through Africa, Asia and America. It was published simultaneously in Dutch, American, German, Austrian and Spanish editions, and two years later in French and Japanese. FWhh WdZ 8WZ][h _ (+*#+$

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ENGSTRÖM, J. H. Trying to Dance. (Stockholm): Journal, (2003). £325

4to (304 × 238 mm), pp.[144]. 56 colour and 39 black-and-white photographs. Original black cloth, spine and sides lettered in

white, colour photographic reproduction mounted to upper side; scuff to lower side. Near-fine. First edition. The photographs that comprise Trying to Dance were taken in various European and American cities though predominantly in his native Sweden and in New York where he moved in 1998. Autobiographical in tone, Engström interweaves nude portraits of people we assume are friends or lovers, self-portraits, landscapes and interior views, many of which feature unmade beds. In so doing his work draws certain comparisons with Nan Goldin’s The Ballad of Sexual Dependency i[[ _j[c +' , though it is less immediately diaristic. Engström is ‘in the vanguard of a new genre that depicts a veiled, oblique, almost novelistic view of modern life, especially modern relationships, apparently offering frankness and disclosure yet remaining extremely guarded.’ FWhh WdZ 8WZ][h __ )((#)$

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EYKELBOOM, Hans. In de krant. Ik heb een poging gedaan om 10 achtereenvolgende dagen op minstens één foto in de krant / I have made an eﬀort to appear on 10 consecutive days on a newspaperphotograph at least once each day. (Utrecht): Gamma, 1978. £300

4to (290 × 208 mm), pp.[38]. 17 black-and-white reproductions of details from newspaper pages. Original light brown wrappers, text in black. Fine. First edition, one of 150 copies. Eykelboom’s work is concerned with the way in which society presents itself in everyday appearance and how that appearance is stipulated by factors such as personality and social position. He documents these sociological enquiries by creating photographic typologies of faces, housing and clothing. Also of interest to him is the mediating role photography plays within the relation between dress, external appearance and personality, and in the role of photography itself as means to create evidence . In In de krant he succeeds in appearing in the newspaper on no less than seventeen occasions, though not on 10 consecutive days.

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or very similar photographs, cropped and captioned to give varying reports of what actually happened. The unreliability of images and an emphasis on their context is a recurring theme within Feldmann’s work. FWhh WdZ 8WZ][h __ '+-

FELDMANN, Hans-Peter. Bilder Pictures. Munich: Kunstraum Munchen E.V., (1975). £750

8vo (208 × 148 mm), pp.20, [318]. 424 black-and-white photographs. Original brown card wrappers, black text to spine and upper side. Ink rubbing aﬀects printing of two images otherwise ﬁne. First edition, limited to 500 copies, reproducing all of the pictures from the Bilder series in chronological order. A combination of found images and photographs by Feldmann, they originally appeared in small booklets of various sizes, with ‘Bild’ or ‘Bilder’ stamped on the cover along with a number corresponding to the number of photographs reproduced, thus Bilder 12 contains 12 photographs of aeroplanes, Bilder 9, 9 photographs of people on bikes etc.

36 i[[ f$'(

FELDMANN, Hans-Peter. Der Überfall [The Heist]. [Cologne]:Wolfgang Hake Verlag, (1975). £975

4to (249 × 249 mm), pp.[58]. 26 facsimile reproductions from newspapers tipped in. Original wrappers, text printed in black and illustrated with a black-and-white photograph to upper side. Fine First edition, one of 350 copies. In Der Überfall Feldmann reproduces photographs from diﬀerent newspaper reports of an armed robbery at a bank in Hilden, in which hostages were taken resulting in a ten-hour stand-oﬀ which ended in one of the robbers being wounded. The various newspapers use the same

FIERET, G[erard]. P[etrus]. Le monde entier / 30 Juni 1979. Appledorn: Van Reekum Edition, 1979. £1,750

Brown card box (320 × 246 mm) titled and signed by Fieret in black pen with c-type photograph affixed to front, copyright stamp in black ink to rear; 15 mm split at flap, corner of photograph creased. Containing 2 sheets of printed paper and 23 c-type photographs (88 × 129 mm) and 2 gelatin-silver photographs (179 × 138 mm) mounted to 15 sheets of coloured card (288 × 203 mm). Near-fine. One of 100 copies. In the late 1950s Fieret began a body of work consisting mostly of self-portraits and candid female nudes. In the 1970s he stopped taking photographs and worked solely with existing images from his archive, re-cropping and creating composites and montages. Interest in his work has grown steadily and with the increased interest an increasingly concerned Fieret began prominently stamping and signing the front of his prints so as to protect the integrity of his ideas.

FINK, Larry. Social Graces. (Millerton, New York: Aperture, 1984). £1,000

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4to (263 × 227 mm), pp.[i] edition statement, [i] blank, 80. 69 black-and-white photographs. Original brown cloth, spine and upper side lettered in gold. Signed and numbered by the author in black ink. Original gelatin-silver print ‘Tavern on the Green. New York City, 1976’, (255 × 215 mm), signed in pencil on verso, in brown paper-covered board chemise, upper lettered in gold. Both housed in a brown cloth slipcase. Fine. First edition, one of 250 signed copies with a print. Social Graces contrasts the behaviour of New York’s upper classes at galas, receptions and parties with the graduations, baptisms and birthdays of the workingclass families of Martin’s Creek, Pennsylvania. ‘Some people mistake my work for satire.’ Fink writes, ‘I don’t object because satire is a powerful force, so if the work is seen that way it serves one function. But I don’t agree. The pictures are taken in the spirit of ﬁnding myself in the other, or ﬁnding the other in myself.’ Humour and despair run through both sets of pictures.

FRANK, Robert. Les Américains. Paris: Delpire, 1958. £2,500

8vo (207 × 184 mm), pp.174. 83 black-and-white photographs. Original laminated pictorial boards illustrated by Saul Steinberg printed in light blue, red and black. No dust-jacket as issued. Boards and spine lightly and evenly toned. Near-fine. First edition. In his successful application for a Guggenheim grant, Frank wrote: ‘The project I have in mind is one that will shape itself as it proceeds… The material is there; the practice will be in the photographer’s hand, the vision in his mind.’ Between April 1955 and June 1956 he set out on a series of trips across America. His aim was to complete a body of work that would be ‘a broad, voluminous picture record of things American, past and present... A visual study of a civilisation’. Les Américains follows a careful and complex sequence, with four chapters each introduced by a photograph of the American flag. In this first edition the photographs are accompanied by a series of texts, selected by Alain Bosquet. Ef[d 8eea '-(#)1 FWhh WdZ 8WZ][h _ (*-$

FRANK, Robert. The Americans. Photographs by Robert Frank. Introduction by Jack Kerouac. New York: Grove Press, Inc., (1959). £3,500

8vo (183 × 207 mm), pp.[iv], vi, 170. 83 black-and-white photographs. Original black cloth, gold lettering to spine; head and foot of spine a little rubbed as is lettering. Original dustjacket, text printed in black and illustrated with a black-andwhite photograph on the upper panel and a collage by Alfred Leslie on the lower panel; toned, with a stain to fore-edge, chipped and creased to upper edges, small split to front cover at hinge, some loss to head and foot of spine. First American edition following Robert Delpire’s Les Americains published in France the previous year i[[ WXel[ . For this edition Frank stripped the texts which appeared opposite the photographs in Delpire’s edition and added an introduction by Jack Kerouac, who describes Frank as ‘Swiss, unobtrusive, nice, with that little camera that he sucked a sad poem right out of America onto ﬁlm, taking rank among the tragic poets of the world.’ Like Vladimir Nabakov, Frank saw 1950s America as no American could have seen it, ‘the loneliness, alienation, rootlessness, and sadness of automobile-happy mid-century America.’ CWbYebc )) $ Ef[d 8eea '-,#-1 FWhh WdZ 8WZ][h _ (*-1 Hej^ '+&#+'$

FRANK, Robert. The Lines of My Hand. Tokyo: Yugensha / Kazuhiko Motomura, 1972. £3,500

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Folio, pp.[v], 119. Original black cloth, spine and upper side blocked in white. Original Japanese booklet, pp.30, grey lettering on black paper, laid in as issued. Original black cloth slipcase issued in two variants, each with a black-and-white photograph tipped on to one side, the present volume with ‘Platte River, Tennessee c.1956.’ Design by Kohei Sugiura. Original shipping carton. Fine. First edition, one of 1000 copies of Frank’s photographic autobiography, dedicated to his two children, Pablo and Andrea, ‘who are trying to find a better way to live.’ The photographs represent every stage of his work to the time of publishing, presented in chronological order and selected less for their historic or aesthetic significance than for their personal meaning. This is the first of two books that Frank made with the assistance of Kazuhiko Motomura, the second being Flower Is i[[ X[bem . The final pages show a photograph of a view taken from Frank’s Nova Scotia home pinned to a wall in his New York studio with a letter to Motomura attached. ‘I hope that you will like the way I put it together. It’s that way because I want you to know and to see – how it was – to become like I am...’

‘By 1949 I had lived in New York City for two years. When I returned to Paris, I was 26. The beauty of that city touched me... Every day I would go out to look at the way Parisians sold and loved their ﬂowers. Returning to America I began to look at Americans... and began to photograph the city and factory which produced the American car. The summer of 1955 was hot and after two days at the River Rouge Plant in Detroit I was told to leave the factory. I travelled south and was astonished to see black people treated as inferiors. I experienced the suspicion against anything not “American”. I was learning about American determination to win. It was a society respecting Power and Money... Flowers of Paris is memory... After the publication of The Americans i[[ _j[ci )/ *& in 1959, a slow fade begins. Filmmaking replaces the single frame photograph.’ FWhh WdZ 8WZ][h _ (,*$

Ef[d 8eea (.,#-1 FWhh WdZ 8WZ][h _ (,'$

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FRIEDLANDER, Lee and DINE, Jim. Work From The Same House. Photographs and Etchings. London: Trigram Press, 1969. £500

FRANK, Robert. Flower Is. Tokyo: Yugensha, 1987. £4,000

Folio (342 × 251 mm), pp.[112]. 81 black-and-white photographs. Original grey silk boards, spine and upper side blocked in dark grey. Original grey cloth slipcase with black-and-white photograph tipped on to one side. Design by Kohei Sigura and Atsusji Sato. Original shipping carton with markings from adhesive tape. Fine. First edition, one of 500 copies. Flower Is begins with photographs taken in Paris of ﬂowers and ﬂower sellers, continues in a car factory in Detroit and ends with polaroids made in Nova Scotia. Frank writes:

4to (247 × 250 mm), pp.[48]. Black-and-white reproductions of 16 photographs by Friedlander with 16 etchings by Dine. Frontispiece portrait by Friedlander of himself with Dine. Original wrappers, text printed in grey and black; very lightly soiled. Dine’s signature in black ink to half-title. Design by Asa Benveniste. Near-fine. First edition, signed. Friedlander and Dine each selected eight of their own prints for the other to match as he saw fit; the pairings are reproduced side by side. Dine writes: ‘Friedlander and I met in 1962. He gave me a photograph of Cincinnati without knowing that I am from there. We have been exchanging things all the time since then. Friendship and pictures. Our work is from the same house. He always understands my words.’ A deluxe version in an edition of 75 with original gelatin-silver prints and etchings was also issued, the sale of which enabled Friedlander to finance the publication of Self-Portrait (1970) under his own imprint, which he named Haywire Press.

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First edition. At the same time that Friedlander was working on The American Monument i[[ WXel[ he had also begun photographing flowers and plants. The photographs in Flowers and Trees maintain the integrity of the flowers pictured, neither distorted nor abstracted. ‘You have to be responsible to the subject,’ he argues. ‘A flower can’t look like concrete.’ 44

FRIEDLANDER, Lee. The American Monument. New York: The Eakins Press Foundation, (1976). £1,500

Folio (291 × 418 mm), 88 leaves bound with three screws. 213 black-and-white photographs reproduced in gravure. Original green cloth, spine and upper side lettered in black, publisher’s device in gilt to spine, upper side ruled in gilt. Afterword by Leslie George Katz. Very faint strip of sunning to edge of upper sided otherwise ﬁne. First edition, one of 2000 copies. Friedlander took most of these photographs between 1971 and 1975 after looking through his contact sheets and noticing the amount of public statues, plaques and reliefs that had made their way into his photographs. Whilst some of the monuments in these photographs have become tourist attractions, the majority are overlooked and often abandoned. Leslie George Katz, founder of Eakins Press writes in his afterword of monuments being ‘metaphors for human values, persistent values that survive despite notice or neglect.’ Ef[d 8eea )'&#'1 FWhh WdZ 8WZ][h __ (.1 Hej^ (),#-$

[FULLER, R. Buckminster]. CALLAWAY, Thomas R. Ntlo ea Sosotho. / (Basuto House). Durban: University of Natal, 1958. £750 Oblong 4to (200 × 251 mm), pp.[72]. 24 gelatin-silver prints (126 × 167 mm) pasted in, 5 diagrams. Printed wrappers, cloth spine; lightly toned, 15 mm split to head of spine. Postal form laid in. Author’s inscription in ink to front free endpaper. First edition, presentation copy. ‘To Mr. R. Buckminster Fuller / with memory of the inspiration & vitality of your visit. / With kindest regards / Slova [?] and Doc Callaway. / Christmas 1958.’ Callaway was a lecturer in architecture at the University of Natal. Ntlo ea Sosotho contains a brief history of the Basuto people and a study of their various houses. Fuller had visited the University in May that year and ran a research project during which a 20 foot aluminium geodesic dome was built. Such structures are now a common method of providing shelter to families in Africa. 47 i[[ f$-

FURUYA, Seiichi. Christine Furuya-Gössler, London, 8 January 1979. £1,950 45

FRIEDLANDER, Lee. Flowers and Trees. New City, New York: Haywire Press, (1981). £1,500

Folio (367 × 285 mm), pp.[44]. 40 black-and-white photographs. Original violet cloth with green cloth doublures, spiral bound; upper side lettered in black. Author’s signature in blue ink to dedication page. Fine.

Gelatin-silver print (355 × 280 mm). Signed and numbered 1/15 in pencil to verso. From the series ‘Mémoires’. Seiichi Furuya ﬁrst photographed Christine in February 1978 on the day they met. They were married a year later and Furuya went on to take pictures of her on an almost daily basis. To begin with Christine appears to be a willing subject though the deterioration of her mental health is apparent as the series progresses, culminating with her suicide in 1985. 51 r F

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of the Kuwasawa Design School. The work is divided in two, the ﬁrst half containing photographs by Sekiguchi and the second by Gocho. Gocho went on to produce two more photographic books: Self and Others (1977) and a book of colour street photography entitled Minareta machi no naka de (1981).

GILBERT & GEORGE. Side By Side /…/ the sculptors / 1971 / Art for All / 12 Fournier Street London E1 Tel 247 0161. (Cologne and New York: Konig Brothers, 1972). £1,200

8vo (188 × 123 mm), pp.[198]. 65 black-and-white photographs, 20 black-and-white reproductions of drawings. Original decorated cloth, spine and upper side lettered in black. Signed by the authors in red ink to introduction. Small bookseller’s ticket and edition number to rear pastedown. Fine. First edition, number 511 of 600 signed copies, the entire edition. ‘To the Reader of Side by Side / from the sculptors... These chapters together represent a contemporary sculpture novel... It is based on plans, intentions and experience... The form being abstract air brushes and the expression pure sculpture... The reader should not expect not to understand this volume as this could only result in unhappiness for both the reader and ourselves... And so, we leave you now with this our simple book. [Signed] George and Gilbert’.

GOLDBLATT, David. Particulars. Johannesburg: Goodman Gallery Editions, 2003. £300

Folio (370 × 350 mm), pp.[60]. 27 black-and-white photographs. Original black cloth, spine and upper side lettered in blind. Original cream dust-jacket, text printed in black and grey. Fine. First edition, one of 500 copies. Goldblatt spent much time helping his father who was a tailor, developing in his words an ‘awareness of the body, of its proportions, size and build and what is declared in stance, clothing and ornamentation’. In 1962 he sold the business and became a photographer. In this book, for which most of the pictures were taken in 1975, he demonstrates his awareness of the body in a series of photographs which draw attention to hands, legs, feet and necks. FWhh WdZ 8WZ][h __ ''*#+$

49 i[[ f$',

GOCHO, Shigeo and SEKIGUCHI, Masao. Hibi [Days]. (Tokyo: Privately published, 1971). £600

8vo (220 × 232 mm), pp.[68]. 48 black-and-white photographs. Original black cloth, spine lettered in gold. Original dustjacket, text printed in black; very light toning to upper edges, short closed tear to the front and a short nick to lower side at fore-edge. Fine in a near-ﬁne dust-jacket. First edition of Gocho’s ﬁrst book, produced in collaboration with Masao Sekiguchi, a fellow graduate

51 i[[ f$'.

GOLDIN, Nan. The Ballad of Sexual Dependency. Edited with Marvin Heiferman, Mark Holborn and Suzanne Fletcher. (New York): An Aperture Book, (1986). £400

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8vo (227 × 252 mm), pp.144. 127 colour photographs. Original blue half-cloth boards, spine lettered in gold. Title and motif to upper board in blind. Original dust-jacket printed in black and blue, text in brown and white, illustrated with colour photographs to upper and lower panels. Author’s photograph by Neil Winokur to rear flap. Design by Keith Davis. Fine. First edition. The Ballad of Sexual Dependency originated as a continually evolving slideshow, first shown in 1979 accompanied by music in New York clubs and art spaces. Goldin refers to it as ‘the diary I let people read… my Leaves of Grass, constantly updated and revised.’ These photographs of Goldin’s friends and lovers show the the difficulties inherent within human relationships. In her introduction Goldin dedicates the book to the memory of her sister. ‘For years, I thought I was obsessed with the recordkeeping of my day-to-day life. But recently, I’ve realized my motivation has deeper roots... I don’t ever want to lose the real memory of anyone again.’ Ef[d 8eea ))(#)1 FWhh WdZ 8WZ][h __ )/0 Hej^ (+(#)$

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GOSSAGE, John. The Pond. With an essay by Denise Hines. Millerton: New York, (1985). £375

4to (278 × 278 mm), pp.[102] including one gate-fold. 49 black-and-white photographs. Original blue cloth, spine and upper side lettered in red, original gelatin-silver photograph aﬃxed to upper side; a couple of nicks to edges. Original dustjacket printed in pale green, blue and red, text in black; lightly rubbed with the odd scuﬀ mark, crease and short closed tear to lower panel. Design by Gossage and Gabriele F. Götz. Author’s signature in black ink to half-title. First edition, signed. The Pond contains photographs taken around and away from a pond situated in a plot of wasteland at the edge of a city. Robert Adams wrote of the work that though it ‘is believable because it includes evidence of man’s darkness of spirit, it is memorable because of the intense fondness he shows for the remains of the natural world’ 8h_jjW_d '+' . FWhh WdZ 8WZ][h __ ),#-

GRAHAM, Paul. A1 – The Great North Road. Photographs by Paul Graham. Introduction by Rupert Martin. (Bristol): Grey Editions, (1983). £1,200

Oblong 4to (210 × 280 mm), pp.[95], [1] blank. 40 colour photographs. Original wrappers printed in light yellow, text in black, illustrated with a colour photograph on upper side. Design by Graham. Author’s signature to half-title in black ink. Fine. First edition, signed copy, of Graham’s selfpublished ﬁrst book printed in an edition of 2500. Between 1981 and 1982 he took photographs at various points along the A1. The sequence begins with a photograph taken outside the Bank of England and ends with one of a garage in Edinburgh which still displays the signs of British car manufacturers Singer and Humber, both of which ceased production in the 1970s, a photograph which is also used as the frontispiece. Shooting in colour on large format cameras, Graham photographs the road itself, the surrounding areas, cafés, service stations and people.

GRAHAM, Paul. Beyond Caring. Bristol: Grey Editions, 1986. £1,200

Oblong 4to (236 × 298 mm), pp.[2] blank, 78. 32 colour photographs. Original wrappers, printed in black, illustrated with a colour photograph to upper side. Graham’s signature to half-title. Fine.

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First edition of Graham’s second self-published book. This photographic enquiry into Britain’s social welfare system began when he was asked to photograph his personal view of ‘Britain in 1984’ for a group exhibition at The Photographer’s Gallery, London. Over the next two years he photographed across Britain in the waiting rooms of Department of Health and Social Security oﬃces. This was a time of high unemployment under a Conservative government determined to curb what it saw as the destructice excess of the welfare state. Rather than highlighting the plight of the unemployed individual, Graham intended to show ‘the condition of this area of the welfare state, and the suﬀering caused by the bureaucratic attitudes which [lie] behind its current collapse’ 8h_jjW_d ')) . FWhh WdZ 8WZ][h __ )&&$

55 i[[ f$(

GRAHAM, Paul. Troubled Land / The Social Landscape of Northern Ireland... Texts by Declan McGonacle / Gerry Badger. London [and Manchester]: Grey Editions with Cornerhouse Publications, (1987). £600

Oblong 4to (224 × 298 mm), pp.(80). 32 colour photographs. Original wrappers printed grey, text in black, illustrated with colour photographs to upper and lower sides; lightly creased at hinges, upper wrapper has previous owner’s writing in black ink to verso. First edition.Graham focuses on subtle details and signs within the landscape such as Unionist or Republican colours on kerbstones, posters and graﬃti that hint at the wider political division within Northern Ireland. Gerry Badger writes in his afterword that as a photographer of the social landscape Graham ‘steps back from the action, rather than stepping forward, to reveal what is above, below and alongside of it, integrating events into their surroundings.’ This is a marked contrast to the traditional media coverage of a conﬂict such as this.

GRAINGER, Ethel. Archive of photographic and other material. c.1933 – c.1980. £7,500

The archive comprises: A cardboard box addressed to Ethel Grainger from Kurt Ingel, containing a ring-binder with 87 gelatin-silver prints, c.1970. Ingel, an Austrian artist used these photographs as the basis for a series of sculptures; 2 c-type and 88 gelatin-silver prints showing candid and performance photographs of Grainger from c.1933 to c.1980; a pencil sketch of Grainger signed by J. G. Wolcott, 1957 and 5 photograpic reproductions of other works by Wolcott; 74 gelatin-silver prints sent to Grainger by fans and other fetish artists, some with annotations to verso; ‘Tiny Waist Stories’ typed manuscript, 4 leaves; two ear rings, a belt buckle and a button. Archive of material relating to Ethel Grainger, a British woman, who, through the practice of tightlacing achieved a waist measurement of thirteen inches, equaling the reported measurements of Catherine de Medici, wife of Henry II of France who declared in the sixteenth century that anything over sixteen inches was vulgar. Grainger was listed in the Guiness Book of World Records as having the smallest waist on record until 1998, when the category was changed to ‘Smallest waist on a living person’.

GREEN, John. D. Birds of Britain /... Art direction David Tree. New York: The Macmillan Company, 1967. £200

Folio (350 × 264 mm), pp.[144]. 71 black-and-white photographs and photomontages. Original green cloth,

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ladybird motif to upper side in green, black cloth backstrip, lettered in green and pink. Original dust-jacket, printed in black and illustrated with a colour photograph; strengthened with tape, price-clipped. Previous owner’s name in black ink to front free endpaper. Text by Anthony Haden-Guest. Fine in a very good dust-jacket. First edition. ‘London has cracked out of its sober chrysalis into an ultravisual supersonic capital-of-allthe-arts… There are no rules, only exceptions. Except that the British girl is suddenly the most attractive, the most startling girl in the world. London’s beautiful girls used to try to look nice – and her nice girls looked invisible. Now the girls look exceptional, and the beautiful girls – incredible! The change is one of style rooted in the new attitude, new confidence, and the bravura of the youthquake... Who is the London girl? John D. Green and his associates went through agonies of choice, and here are fifty-five... Observe her. She is a novel phenomenon.’ Ef[d 8eea ((.#/$

the folly of the original view that deemed it possible for a society like America’s to impose itself on that of the Vietnamese. This view was based on an ignorance that later frustrated progress and prompted recourse to the asset America has in abundance – the tools of destruction.’ Ef[d 8eea (-*1 FWhh WdZ 8WZ][h __ (+&#'$

GROEBLI, René. Magie der Schiene [The Magic of the Tracks]... Gedicht Albert Ehrismann. Zurich: Kubus-Verlag, (1949). £750

8vo (239 × 179 mm), 8 folded sheets loosely inserted as issued into original card wrappers illustrated with a black-and-white photograph to upper side. 14 black-and-white photographs reproduced in gravure. Original green wrap-around band, text printed in black. Numbered and with Groebli’s signature in green ink to colophon. Afterword by Hans Ulrich Gasser. Fine. First edition, number 370 of 700 in German (300 in English) from a total edition of 1000 signed copies. Photographed in France, mainly in Paris and its suburbs. When Groebli self-published Magie der Schiene the magic of rail travel was already heavily loaded with nostalgia, rapidly being replaced by the automobile and air travel.

GRIFFITHS, Philip Jones. Vietnam Inc. New York: Collier Books, 1971. £750

4to (278 × 202 mm), pp.[223], [1] blank. 268 black-andwhite photographs. Original wrappers, text printed in black, illustrated with a black-and-white photograph on upper side. Griffiths’s signature in ink to title-page. Fine. First edition, signed and dated in the year of publication. Griffiths photographed the conflict in Vietnam over a period of three years, emphasizing the unequal relationship between humanity and technology and contrasting the lives of the Vietnamese civilians with the increasingly mechanized American war-effort. As he explained, ‘This book is not intended to be a list of the tactics which failed, compiled for the purpose of overcoming the deficiencies and ensuring success next time. The American miscalculations made in Vietnam are overshadowed by and stem from

Ef[d 8eea '+(#)1 FWhh WdZ 8WZ][h _ (&*$

HANZLOVÁ, Jitka. Bewohner [Inhabitants]. (Frankfurt: Frankfurter Kunstverein, 1996). £400

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8vo (241 × 164 mm), pp.[64]. 25 colour photographs. Original light blue paper-covered boards, spine and upper side lettered in grey; very slight sunning to rear side at hinge. No dust-jacket as issued. Design by Hanzlová and Miriam Lambert. Fine. First edition, one of 700 copies printed to coincide with Hanzlová’s exhibition at the Frankfurter Kunstverein. These photographs were taken between 1994 and 1996 in unnamed European cities. Hanzlová intersperses portraits made of the inhabitants of these cities with photographs of their surroundings.

Square 8vo, (199 × 197 mm), pp.52. 38 black-and-white photographs. Original wrappers, printed in black, black-andwhite photograph reproduced on upper side. Fine. Catalogue for an exhibition of early black-andwhite work at the Rheinisches Landesmuseum, Bonn.

HOMMA, Takashi. Tokyo Suburbia. (Tokyo: Korinsha Press, 1998). £600 61 i[[ f$)'

HANZLOVÁ, Jitka. Rokytník. (Velbert-Neviges): Museum Schloß Hardenberg, 1997. £800

4to (281 × 213 mm), pp.84. 42 colour photographs. Original orange cloth, spine and upper side lettered in yellow. No dustjacket as issued. Text by L. Fritz Gruber. Design by Sylvia Pöhlmann. Fine. First edition, one of 700 copies. Hanzlová took these photographs during a number of visits to her home village of Rokytník, Northern Bohemia, now Czech Republic. The photographs are the result of a series of chance encounters with friends, neighbours and people she grew up with. They were published on the occasion of an exhibition at the Museum Schloss Hardenberg, Velbert-Neviges, Germany.

4to (287 × 217 mm), pp.[96]. 63 colour photographs. Original thick card wrappers, text printed in black illustrated with a colour photograph; corners slightly rubbed. Original Japanese and English green booklet, pp.20, printed in black and white; crease to lower edge. Ticket and publisher’s information laid in. Near-ﬁne. First edition of Homma’s photographs of the Tokyo suburbs and the children growing up in them. The separate booklet includes an annotated subway chart showing the location where each photograph was taken. There are extended captions to some of the photographs by architect Momoyo Kajima, and an essay by sociologist Shinji Miyadai. Homma was awarded the Ihei Kimura Commemorative Photography Award in 1998 for this work. FWhh WdZ 8WZ][h __ )&,#-$

FWhh WdZ 8WZ][h __ .*#+$

64 62

HÖFER, Candida. Innenraum Fotograﬁen 1979 – 1984. Cologne: Rheinland-Verlag GMBH, 1984. £325

HOSOE, Eikoh. Barakei. Killed by Roses... Model and Introduction by Yukio Mishima. (Tokyo: Shueisha, 1963). £3,000 56 r H

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Folio (420 × 270 mm), pp.[i] limitation on red rice paper, [xii], 4 printed rice paper leaves, [80] two folding slightly larger. 43 black-and-white photographs printed in gravure. Original illustrated cloth; a few faint spots to margins of tissue leaves. Original acetate dust-jacket; lightly wrinkled, 30mm tear to upper panel at top edge. Original illustrated cardboard box; rubbed with small chips at folds and extremities, top edge and upper side with large area of wear and some staining touched up with black ink. Hosoe and Mishima’s signatures in black ink to limitation. Design by Kohei Sugiura. Near-ﬁne in a ﬁne jacket. First edition, no.1050 of 1500 copies, signed by Hosoe and Mishima. Having seen his photographs of the dancer Tatsumi Hijkata, Mishima asked for Hosoe to take a publicity portrait for him. The two of them were pleased with the results and for several months from Autumn 1961 until Summer 1962 they worked together on the photographs that would form Barakei. Ef[d 8eea '/*#+1 FWhh WdZ 8WZ][h (.&#'" Hej^ ',*#-$

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with ‘Death’. In December 1970 Mishima committed suicide as a protest against the signing of an extension to the US-Japan security treaty, having planned for Ordeal by Roses to be published in the month that he died. Hosoe, however, delayed production. Ef[d 8eea (-,#-1 FWhh WdZ 8WZ][h _ (.(#)$

HOSOE, Eikoh. Embrace. Tokyo: Shashin Hyoronsha Publishing House, 1971. £750

Folio (356 × 253 mm), pp.[95], [1] blank. 63 black-and-white photographs. Original black cloth, spine and sides stamped in white. Original publisher’s inserts and bookseller’s ticket laid in. Original dust-jacket printed in black and pink. Original cardboard slipcase printed in black and white as issued. Preface by Yukio Mishima. Fine. First edition. A continuation of the work Hosoe started in his 1961 book Otoko to Onna, exploring the relationship between men and women in a series of abstract close-ups in which the woman’s body is bleached to white in contrast with the dark detail of the man’s.

HOSOE, Eikoh. Barakei Shinshuban. Ordeal by Roses / Reedited... Model Yukio Mishima / Illustrations Tadanori Yokoo. (Tokyo): Shueisha, 1971. £1,800

Folio (378 × 529 mm), pp.[ii] metal plate printed in black affixed to black leaf with tissue guard, [102]. Original printed endpapers. Original black velvet covered boards, colour photographic illustration affixed to upper side; hinges cracked, as is common and detached. Original white cloth fold-out chemise, lettered in red to upper side, lined with colour illustrated paper; scattered foxing and soiling. Design by Tadanoori Yokoo. Hosoe’s inscription in blue ink to verso of front free endpaper. Second edition, presentation copy. Inscribed to Rory White, a model who had worked with Hosoe. Unhappy with the original translation Mishima changed the title of this revised edition to reflect more accurately the original Japanese. The design varies significantly from that of the first book. Working closely with Hosoe and Mishima, Yokoo completely restructured the sequence into five chapters ending

67 i[[ f$(,

HÜTTE, Axel. London. Photographien 1982-1984. Text by Gerda Breur. Munich, Paris and London: Schirmer / Mosel, (1993). £600

Oblong 4to (264 × 340 mm), pp.108. 50 black-and-white photographs. Original black paper-covered boards, spine and upper side lettered in red and grey; marks to lower edge.

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Original dust-jacket printed in black, text in red and illustrated with a colour photograph on upper panel. Near-ﬁne in a ﬁne dust-jacket. First edition. A former student of Bernd and Hilla Becher, in 1982 Hütte was awarded a DAAD scholarship to take photographs in London. This book contains pictures taken of twentieth century social housing in London, estates built by the Peabody Trust in the early twentieth century and 1960-70s tower blocks. Most of his work is concerned with the way people live within their environment, though they are never present in his photographs. ‘An almost perfect example of the photobooks that embody the principles of the New Objectivity’ FWhh .

year, although he continued to travel between the two countries. In 1969 he was granted Japanese citizenship. The photographs in Someday, Somewhere were taken in Tokyo and Chicago and are divided into three sections, the ﬁrst showing the obvious inﬂuences of Siskind and Callahan, followed by pictures taken on the beach and the street. FWhh WdZ 8WZ][h _ (-(#)$

FWhh WdZ 8WZ][h __ (-*$

ISHIMOTO, Yasuhiro. Chicago, Chicago. Tokyo: Bijutsu Shuppansha, 1969. £1,700

ISHIMOTO, Yasuhiro. Aruhi Arutokoro. Someday, Somewhere. Tokyo: Geibi Shuppan, 1958. £2,500

4to (280 × 224 mm), pp.[170] (two folding), 179 black-andwhite and 7 colour photographs. Original dark blue cloth, yellow cloth spine lettered in black. Imprint in black on yellow paper tipped in as issued; spine lightly rubbed with short split to head at hinge, pages toned at edges. Original dust-jacket, printed in black and illustrated with a colour photograph; four short closed tears, chipping to edges and small pieces missing from front panel at bottom edge, head of spine at hinge, and from top of rear panel at ﬂap. First edition of Ishimoto’s ﬁrst book. Born in San Francisco in 1921, he moved with his family to Japan at the age of three. After graduating from high school he went back to San Francisco to study. A year later, as a result of the war, he was sent to an internment camp in Colorado for Japanese citizens and those of Japanese descent. It was here that his interest in photography began. After the war Ishimoto went to Chicago and studied at the Institute of Design under Harry Callahan i[[ _j[c (& and Aaron Siskind i[[ _j[c '', . He graduated in 1952 and returned to Japan the following

4to (270 × 281 mm), pp.224. 210 black-and-white photographs. Original black cloth, spine and upper side lettered in white; infrequent isolated spotting to preliminaries, last page lightly foxed. Original paper-covered slipcase, printed in black and illustrated with a black-and-white photograph on upper side. Previous owner’s inscription in faded black ink, publisher’s card laid in. Near-ﬁne in a lightly soiled and rubbed slipcase. First edition, published in the year that Ishimoto took Japanese citizenship. The photographs of architectural views, beach and street scenes and portraits were taken in the late 50s and early 60s and clearly reﬂect his formal training at the Chicago Institute of Design. FWhh WdZ 8WZ][h _ (./$

ISHIMOTO, Yasuhiro. Tokyo. (Tokyo: Chuo-koron-sha, 1971). £800

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4to (258 × 210 mm), pp.[120]. 96 black-and-white photographs. Original paper-covered boards, spine and upper side lettered in black. Original dust-jacket printed in gold, text in black. Original obi printed in black. Fine. First edition. In 1961, after spending three years taking photographs for Chicago, Chicago i[[ WXel[ , Ishimoto returned to Japan where he began to take these pictures during endless walks around Tokyo and the Shonan coast where he was living. ‘For Ishimoto, Chicago is the point of departure,’ writes Shoji Yamagashi in the afterword. ‘When he ﬁxed upon Tokyo as his theme, there can be no doubt that the streets, buildings and people of Chicago were there in the background as reference.’ 71 i[[ f$.

First edition. Jonsson was born in 1930 in Nyåker, a village in the northern province of Västerbotten, Sweden. At the end of the Second World War his family moved to Stockholm to seek work. After studying English Literature and Ethnography at the Universites of Stockholm and Uppsala Jonsson returned to Västerbotten and set about trying to photograph or in some cases recreate the world he remembered from his childhood. His photographs and the text that accompanies them concentrate not so much on individuals as on their place in a vanishing rural society. Between 1961 and 1995 he worked as a ﬁeld ethnologist and photographer at the Museum of Västerbotten in Umea. This enabled him to produce an extensive record of the small agricultural villages in the north of Sweden before they disappeared.

JEWELL, Dick. Chestnuts. 1998. £1,200

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C-type photograph (740 x 650 mm), signed and numbered 1/2 in black ink to verso. Jewell is a London-based artist and film maker who has directed over 50 films and video documentaries. His first book Found Photos was published in 1979 and in 2001 Hysteric Glamour published a monograph, from which this photograph is taken.

KATASE, [Tsuneko]. Hitori no Uta [A Lonely Child’s Song]. Tokyo: Privately printed, 1972. £400

8vo (256 × 182 mm), pp.[48]. 49 black-and-white photographs. Original wrappers illustrated with black-and-white photographs to upper and lower sides; small loss to one corner. Writing in blue ink to upper side. Near-ﬁne. First edition. These photographs by a little-known female photographer show solitary Japanese children playing in the street, in playgrounds and at home. 72

JONSSON, Sune. Byn met det blå huset [The Village with the Blue House]. Stockholm: Nordisk Rotogravyr, (1959). £500

8vo (209 × 153 mm), pp.140. 108 black-and-white photographs reproduced in gravure. Original decorated paper-covered boards, black cloth spine lettered in blue. Original dust-jacket, printed in blue, illustrated with a black-and-white photograph to lower panel and ﬂap; light creasing to edges with a couple of short closed tears, small chip to lower panel and to head and foot of spine, all repaired with tape. Design by Bo Berndal. Fine in a very good dust-jacket.

KEUKEN, Joan van der. Wij zijn 17 [We are 17]. Bussum: C. A. J. van Dishoeck, (1955). £750

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8vo (238 × 157 mm), pp.[64]. 29 black-and-white photographs. Original black wrappers, upper side illustrated with a blackand-white photograph; edges rubbed with light creasing at hinges, pen mark to lower edge of six pages. Introduction by Simon Carmiggelt. Design by van der Keuken. First edition. ‘These young people are serious about everything, they don’t laugh yet they’re not melancholic; they are pensive but not pessimistic; they are always enquiring critically, their judgement is cynical.’ Published when he was just 17 himself, these photographs of van der Keuken’s friends and fellow pupils show an early glimpse of teenagers not quite ready to rebel. It inspired a somewhat more optimistic portrait of youth a year later with Louis Drent’s 1956 book Wij zijn ook 17 (We are also 17) which showed youths studying and having fun with friends as opposed to van der Keuken’s Rimbaud reading, pipe smoking loners. FWhh WdZ 8WZ][h _ (**$

KEUKEN, Joan van der. Achter Glas [Behind Glass]... Remco Campert tekst. Amsterdam: Uitgeverij C. de Boer Jr., (1957). £2,500

4to (298 × 236 mm), pp.(96). 84 black-and-white photographs, 2 reproductions of lino cuts by Georgette Apol. Original endpapers illustrated with black-and-white photographs. Original blue and white ﬂecked cloth; lightly toned especially at spine. Original dust-jacket printed in black, text in red and illustrated with a black-and-white photograph to upper panel; small chips to head and foot of spine, rubbing to corners, a couple of tears repaired with tape. QM_j^0S A vintage gelatinsilver print (178 × 240 mm) laid in, van der Keuken’s copyright stamp in blue ink to verso. First edition, scarce cloth issue with a vintage photograph laid in. Published the year after he enrolled at the Institute des Hautes Études Cinématographiques in Paris, Achter Glas is much more lyrical in its execution and layout than his ﬁrst book Wij zijn 17 i[[ WXel[ . The narrative follows two girls Georgette

and Yvonne as they gaze out of windows. The copyright stamp on the photograph has two addresses for van der Keuken, one in Paris and one in Amsterdam, indicating that the photograph was printed between 1956 and 1958 whilst he studied ﬁlm in Paris. FWhh WdZ 8WZ][h _ (**$

KILLIP, Chris. In Flagrante. With an essay by John Berger & Sylvia Grant. London: Secker & Warburg, (1988). £1,950

4to (302 × 246 mm), pp.[viii], 96. 50 black-and-white photographs. Original black cloth, upper side lettered in blind, spine lettered in silver; light bump to head of spine, light stain to half-title. Original dust-jacket, text printed in black and illustrated with black-and-white photographs to upper and lower panels. Killip’s signature in ink to half-title. Near-fine. First edition, signed copy. Killip was included in the exhibition ‘British Photography from the Thatcher Years’ at the Museum of Modern Art, New York, 1990. Also exhibited were Graham Smith, John Davies, Martin Parr and Paul Graham i[[ _j[ci +)" +*" ++ . These photographs show the effects of the decline of traditional British industry on the people living and working in and around Newcastle upon Tyne. He has said that he tried to make it obvious from the outset that photographs are not to be trusted and that he wanted ‘people to be conscious of the subjective nature of photography’. As his introduction states, ‘the objective history of England doesn’t amount to much if you don’t believe in it, and I don’t, and I don’t believe that anyone in these photographs does either as they face the reality of de-industrialisation in a system which regards their lives as disposable... The book is a fiction about metaphor.’ To which John Berger adds in the afterword: ‘Fiction, I think. Because it is a story, not just information. About a human tragedy not an accident. Metaphor because it is through metaphor that, at first and last, we seek for meaning.’ Ef[d 8eea )*&#'1 FWhh WdZ 8WZ][h __ (//$

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4 vols, 4to (296 × 209 mm), each pp.[20], totalling 131 blackand-white photographs. Original stapled wrappers printed in either light pink, blue, dark pink or green, illustrated with black-and-white photographs. Crease to lower side of vol.1. A near-ﬁne set. First editions; unlike the series relating to Tokyo i[[ X[bem , these were not collected in book form. Kitajima studied in Daido Moriyama’s class at Workshop, and with other members of that class was one of the founders of Image Shop Camp, a gallery and forum which ran from June 1976 to February 1984.

KIMURA, Ihei. Pari [Paris]. (Tokyo: Nora-sha, 1974). £1,500

4to (256 × 180 mm), pp.[320]. 218 colour photographs. Original cream linen, spine lettered in dark blue. Original paper-covered board slipcase, illustrated with a colour photograph on upper side; light staining and spotting to upper side with slight toning to spine. Original 20pp. pamphlet, publisher’s card and business card laid in. Fine in a near-ﬁne slipcase. First edition. In 1954 Kimura was sent by Asahi Camera to document life in post-war Europe. During this and on two subsequent trips in 1955 and 1960 he took these photographs of Paris. ‘Of the distinctive colour palette Kimura has written that “most colour photographs that had been shot abroad... were too intense, too gaudy; they didn’t seem real. I wanted to reduce the brashness of the colours, to capture and express the tones that came naturally from life in Europe, and that I perceived as a Japanese”’ LWhjWd_Wd /) $ Kimura is broadly regarded as one of the leading Japanese photographers of the immediate post-war period. He was a keen admirer of Cartier-Bresson, with whom he would sometimes stay whilst in Paris. FWhh WdZ 8WZ][h _ (/-$

KITAJIMA, Keizo. Shashin tokkyubin Tokyo [Photomail from Tokyo]. (Tokyo: Parole-sha, 1980). £800

4to (257 × 182 mm), pp.[150], 87 black-and-white and 32 colour photographs, plus poster tipped in folding out to 715 × 55 mm. Original wrappers printed in yellow, text in red. Original illustrated dust-jacket printed in yellow, grey, black and gold. Poster printed in brown, pink and yellow. Publisher’s cards laid in. Near-ﬁne. First edition in book form of photographs made by Kitajima in Tokyo in 1979. They were initially published as a series of 12 volumes, each containing photographs taken in the previous month.

78 i[[ f$'-

KITAJIMA, Keizo. Shishin tokkyubin Okinawa [Photo mail from Okinawa] 1-4. (Tokyo: Parole-sha, January – June 1980). £1,000

KRIMS, Les. The Incredible Case of the Stack O’Wheats Murders / a limited folio. (Buﬀalo, New York: [Humpy Press], 1972). £150 61 r K

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Production still from Fritz Lang's Die Nibelungen: Siegfrieds Tod.

62 r L

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Ten toned black-and-white plates (127 × 142 mm), two sheets of orange paper, text printed in black (550 × 142 mm). Contained in a hinged blue paper-covered box (137 × 149 mm), white label with title and photographic illustration affixed to top; lightly rubbed. Near-fine. First edition. The photographs in this series show naked women lying in pools of what appears to be blood but is in fact chocolate syrup; positioned next to each is a stack of pancakes. In 1980 activist Nikki Craft denounced The Incredible Case of the Stack O’Wheats Murders as violent pornography and destroyed a copy held in the UCSC Special Collections Library by tearing up the plates and pouring chocolate syrup over them. Krims maintains that it was ‘in part, a work expressing my revulsion for violent crime.’ This was not the first occasion that a member of the public had taken an objection to his work, in 1971 Krims had four prints included in a Memphis Academy of Arts exhibition. The son of one of the academy instructors was kidnapped from his home at gunpoint and the instructor told that the he would be held until a TV and radio broadcast was made promising that Krims photographs would be removed. The Academy complied and the boy was returned safely.

4to (214 × 278 mm), pp.[263]. 154 black-and-white photographs and collages, 9 black-and-white illustrations. Original purple cloth, spine lettered in silver. Original dustjacket printed in black and purple, illustrated with black-andwhite photographs; short closed tear to upper panel, small crease to flaps. Near-fine. First edition. Michael Lesy’s book documents the period in the history of Black River Falls between 1885 and 1910. It consists primarily of clippings from the local newspaper and contemporary photographs taken by Charles Von Schaick. Lesy supplements these with local history, fiction and official records from Mendota State asylum. The newspaper reports abound with stories of murder, domestic violence, arson and suicide, insanity and financial ruin as fin-de-siècle rural America faced up to the twentieth century. FWhh WdZ 8WZ][h __ (',#-1 Ef[d 8eea (/(#)1 Hej^ (((#)$

83 i[[ f$(( 81

[LANG, Fritz]. Die Nibelungen: Siegfrieds Tod [Siegfried]. 1924. £2,250 Vintage gelatin-silver print (215 × 272 mm); ‘Decla-Bioscop’ copyright stamp to verso and logo stamped in blind to bottom right corner. Siegfried’s death scene from the ﬁrst of Lang’s two-part adaption of the 12th century poem Die Nibelungenlied also adapted by Wagner as Der Ring des Nibelungen (1876).

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LESY, Michael. Wisconsin Death Trip. New York: Pantheon Books, a division of Random House, (1973). £250

LEVITT, Helen. A Way of Seeing / Photographs of New York... / with an essay by James Agee. New York: The Viking Press, (1965). £1,750

Oblong 8vo (224 × 189 mm), pp.[viii], 8, [65], 73-78, [2] blank. 51 black-and-white photographs reproduced in gravure. Original black cloth, spine and upper side lettered in white; very slight sunning at top edge towards spine, mark from a paper clip aﬀecting 10 pages. Original dust-jacket printed in black, illustrated with black-and-white photographs on upper and lower panels; small chip to head of spine and also at foot to front hinge. Design by Nicolas Ducrot and Christopher Harris. First edition. This collaboration was born in 1945 when Levitt and Agee worked together on In the Street, a documentary ﬁlm shot in Harlem. The photographs were taken on the streets of Harlem and the Lower East Side in the late 1930s and 1940s. The project remained unpublished until the present edition. Agee writes ‘Levitt’s photographs seem to me as beautiful, perceptive, satisfying, and enduring as any lyrical work that I know... an uninsistent but irrefutable manifesto of a way of seeing, and, in a gentle and wholly unpretentious way, a major poetic work.’ Ef[d 8eea ('*#+1 FWhh WdZ 8WZ][h _ (+(#)1 Hej^ '-.#/$ 63 r L

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First edition. This ‘notorious exercise in anthropological eroticism’ was published by Michel Camus and Pierre Bourgeade. An edition of 40 with 4 original prints was also issued. FWhh WdZ 8WZ][h __ '*/$

LORINCZY, Gyorgy. New York, New York. (Budapest: Magyar Helikon, 1972). £1,500

86 i[[ f$'

4to (249 × 202 mm), pp.[130] (including one gatefold), two pictorial tissue overlays printed in blue. 102 black-and-white photographs. Original flexible nylon boards, spine lettered in gilt with design blocked in gilt to upper side; flaking to spine at hinges. Original dust-jacket printed in black, illustrated with a black-and-white photomontage to upper panel. Numbered in black ink to imprint. Near-fine. First edition, number 570 of 1200 numbered copies; an unnumbered edition of 5200 was also issued. In 1968 the Hungarian government relaxed its laws on citizens travelling abroad. This enabled Gyorgy Lorinczy to travel to the US and to bring back these photographs of New York. ‘Rough, raw and uninhibited, in the best stream-of-consciousness manner’ FWhh . FWhh WdZ 8WZ][h _ (,(#)$

MANDEL, Mike and SULTAN, Larry. Evidence / Afterword by Robert F. Forth. (Greenbrae and Santa Cruz, California: Clatworthy Colorvues, 1977). £7,500

4to (227 × 243 mm), pp.[72]. 59 black-and-white photographs. Original blue cloth, spine and upper side lettered in gilt. Gibson’s Ex libris stamp in black ink to front pastedown, author’s inscription in black ink to title page. Fine. QM_j^0S Typed letter signed by Sultan. c.1979. First edition, association copy, inscribed by Mandel and Sultan and with a letter to Ralph Gibson laid in. Mandel and Sultan were clearly influenced by Gibson’s books, ‘especially The Somnambulist (1970) and Déjà-vu (1973), where allusive, open-ended, uncaptioned pictures were sequenced to take on some general narrative meaning’ F^_bb_fi .' . In 1975 they were awarded an NEA grant to investigate photographic archives belonging to over 100 local corporations, government agencies and research institutions, and to publish a book of their findings. ‘By definition these found objects are records and by implication they are cultural artifacts. This is a... poetic exploration upon the restructuring of imagery.’

Ef[d 8eea )'*#+1 FWhh WdZ 8WZ][h __ ((&#'1 Hej^ (*&#'$

MACCHERONI, (Henri). Cent photographies choisies dans la série Deux Mille photographies du sexe d’une femme [One Hundred Photographs Chosen from the Series ‘Two Thousand Photographs of a Woman’s Sex’]. (Paris): Images Obliques, (1978). £300 87

8vo (210 × 134 mm), pp.112. 100 black-and-white photographs. Original grey cloth, spine and upper side lettered in red; binding slightly loosened at head as is common. No dust-jacket as issued. Text by Michel Camus.

MATTA-CLARK, Gordon. Walls Paper. [New York]: Buﬀalo Press, 1973. £2,500

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Letter from Larry Sultan to Ralph Gibson, regarding Evidence.

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4to (245 × 177 mm) pp.[142] split horizontally. 142 coloured photographs. Original staple-bound wrappers illustrated with black-and-white photographs; light rubbing to wrappers and spine. Near-fine. First edition. Owing to their ephemeral nature Matta-Clark’s site-specific sculptural works exist only in a documented form as photographs, videos and films. Walls Paper consists of coloured photographs of the exposed walls of a tenement building in the Bronx which is due for demolition. In keeping with his Building Cuts series in which he would halve such structures, for this artist’s book he has halved each page. Matta-Clark referred to his intervention as ‘anarchitecture’. FWhh 8WZ][h __ '*.#/$

McCULLIN, Donald. The Destruction Business. (London): Open Gate Books, (1971). £1,200

8vo (240 × 180 mm), pp.96. 81 black-and-white photographs. Original black cloth, spine lettered in gold; light rubbing to tips. Original dust-jacket, text printed in black, illustrated with a black-and-white photograph to upper panel, author’s portrait by Roy A. Giles to lower; toned with short closed tears to upper panel, chipping to head and foot of spine and scratches to lower panel, light creasing affects upper edges. Jacket design by Richard Hayes. McCullin’s’s signature in black ink to titlepage. Near-fine in a very good dust-jacket. First edition, signed. A chance encounter with a local gang in Finsbury park and the subsequent sale to the Observer newspaper of a photograph he made of them set McCullin on a course which would lead him to cover the conflicts in Biafra, Cyprus, Vietnam, Cambodia, Beirut and Northern Ireland. The Destruction Business is split into three sections with photographs from these wars flanking his pictures taken in England. On publication in the U.S. two years later it was retitled Is Anyone Taking Any Notice? FWhh WdZ 8WZ][h __ (*/$

MEISELAS, Susan. Nicaragua. New York: Pantheon Books, 1981. £150

4to (214 × 276 mm), pp.[120], 71 colour photographs. Original wrappers, printed in black and illustrated with a colour photograph on upper side; slight rubbing to edges with light bumping to corners. Meiselas’s signature dated ’97 in black ink to title-page. Near-ﬁne. First edition, signed copy, of Susan Meiselas’s chronological account of the 1978-9 Sandanista uprising in Nicaragua for which, along with her later work in El Salvador, she was awarded the Robert Capa Gold Medal. Meiselas went to Nicaragua at the ﬁrst signs of unrest; she photographed the country under the Somoza regime and was there for the insurrection and the subsequent Sandanista victory. Later she returned and interviewed many of the people who had witnessed or taken part in the uprising. Excerpts from some of these interviews are included alongside quotes from literature and the history of Nicaragua and a timeline which details the events as they unfolded. FWhh WdZ 8WZ][h __ (+($

MICHALS, Duane. Chance Meeting. (Cologne: Edition Anne & Jürgen Wilde, 1973.) £100

Small 4to (214 × 214 mm), pp.[16]. 6 black-and-white photographs. Original staple-bound wrappers, text printed in black; minor markings to front and rear sides. Near-ﬁne. First edition. Chance Meeting consists of a sequence in which two men who we assume do not know one another pass in an alleyway, each pauses and turns to

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see the other walking on. In a note at the beginning Michals writes ‘I do not walk the streets with my camera looking for life. I am not a reporter. I am not a spectator. I am life. I am it. The images that I see in my mind are inﬁnitely more me and real to me than any chance accidental event I might witness.’ Ef[d 8eea (/*#/+$

First edition. The photographs in these two volumes were taken in Kiev and Mihailov’s hometown of Kharkov where the Horizont panoramic camera he uses is manufactured. The resulting street scenes reveal a society that has broken down, where people are struggling to deal with the fall-out from the collapse of the Soviet Union. In his introduction Mihailov writes ‘The fourth year... Not much has been reorganized, but a lot has changed... a deterioration in the quality of life for most people and the waning hope that some time everything will turn out ﬁne for them. This is not only based on my sources of information, but more than anything else on my photos.’ FWhh WdZ 8WZ][h __ --$

91 i[[ f$(/

MICHALS, Duane. Things are Queer. (Cologne: Edition Anne & Jürgen Wilde, 1973.) £100

Small 4to (214 × 214 mm), pp.[24]. 9 black-and-white photographs. Original staple-bound wrappers, text printed in black. Fine. First edition. Michal’s work consistently deals with the intangible aspects of life. He explores themes such as death, eroticism, chance occurrences, dreams and the spirit world through photographic sequences, multiple exposures or single photographs with handwritten narratives.

MIHAILOV, Boris. Am Boden / By the Ground / u Zemli. Die Dämmerung / At Dusk / Sumerki. (Cologne): Oktagon Verlag, (1996). £300

2 vols, 8vo (166 × 268 mm). Am Boden: pp.144. 126 browntoned black-and-white photographs. Original paper-covered boards printed in pink and black, illustrated with a toned black-and-white photograph to upper side. Die Dämmerung: pp.128. 111 blue-toned black-and-white photographs. Original paper-covered boards printed in blue and black, illustrated with a toned black-and-white photograph to upper side. Original cardboard slipcase. Fine.

MODEL, Lisette. Lisette Model. Designed by Marvin Israel with a preface by Berenice Abbott. Millerton, New York: Aperture, 1979. £300

Folio (377 × 231 mm), pp.112. 48 black-and-white photographs. Original paper-covered boards, printed in grey and black and illustrated with black-and-white photographs to upper and lower sides; small bump to foot of spine. Original dust-jacket in imitation of boards; small shallow crease and short closed tear at head of spine and upper hinge, small chip to lower panel at head of spine. Near-ﬁne. First edition of the ﬁrst monograph of Lisette Model’s work. Widely regarded as one of the medium’s most eloquent and gifted teachers, Model taught at New York’s New School for Social Research and conducted workshops and private classes until her death in 1983. Her students included Bruce Weber i[[ _j[c ''& , John Gossage _j[c +( , Larry Fink _j[c ). and Diane Arbus. This retrospective includes photographs from the 1937 series taken on the Promenade des Anglais, Nice, some of which were published in New York’s PM magazine under the title ‘Why France Fell’. Berenice Abbot writes: ‘She does not shrink from reality. She meets it head on.’ Hej^ (*(#)$

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MOLINIER, Pierre, and GORSEN, Peter. Pierre Molinier, lui-même. Essay über den surrealistischen Hermaphroditen. Munich: Rogner & Bernhard, 1972. £250

8vo (240 × 172mm), pp.39, [82] (with 42 thin black paper overlays interleaving, 2 between pictures 41 and 42), [1] blank, [4] bibliography, [2] blank. 50 black-and-white photographs. Original black cloth, spine and upper side lettered in black; spine, upper and lower edge sunned. Original acetate dustjacket; with wrinkling. Original card slipcase; tear to spine and split half length. Design by Leu Design Divisions. First edition. Molinier was raised by Jesuits and was to have entered the priesthood. However, he rebelled, discovering painting and in the 1960s photography. He mostly used either himself or a mannequin as a model for these photographs and photomontages, though occasionally he would use a companion. Obsessed with his own death, the ﬁrst photograph in this collection shows the ‘Tombe ﬁctive de Pierre Molinier 1900-1950’. In 1976 he ended his life by placing a revolver in his mouth whilst leaning over a mirror.

side, calligraphic design embossed to upper side; spine creased, light foxing to wrappers and endpapers, short pen marks to title-page. Original paper covered board slipcase illustrated with black-and-white reproductions of contact sheets; toned and rubbed with a crease to spine. First edition. Moriyama has been quite dismissive of this, his only book of nudes, stating that he made it to generate money to fund a trip to New York to visit Yokoo Tadanori’s exhibition. During this trip he was to take the photographs that would form Another Country in New York (1974) and later 71-NY (2002). In an interview published in 71-NY he states ‘I was completely uninterested in that book. I only made it to raise money for my trip. I got an advance of 500,000 yen from the publisher. In my mind I never made that book. It’s a pretty good book, though! Yeah, but I hope it isn’t the only book of mine that survives the holocaust.’ 96

MUSAFAR, Fakir [LOOMIS, Roland]. Nipple loop with solid brass ring. c.1959. £875

Vintage gelatin-silver print (115 × 86 mm). Typed caption to verso. Musafar’s extreme portrayals of the body pose wider questions about erotic iconography. The typed caption reads ‘An old picture of the nipple loop... with 3/8" solid brass ring. I’ll take some new ones again soon so you can see what a large skin loop the nipples now form.’

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97 i[[ f$')

NASH, Paul. Fertile Image... edited by Margaret Nash with an introduction by James Laver. London: Faber & Faber Limited, (1951). £95

MORIYAMA, Daido. Kagerou [Dayﬂy]. Tokyo: Haga, 1972. £1,200

4to (257 × 183 mm), pp.[188]. 93 black-and-white and 6 colour photographs, 9 pages of contact sheet reproductions. Original laminated wrappers, Japanese text in black to spine and lower

4to (250 × 183 mm), pp.33, 64, [1] blank. Frontispiece portrait of Nash and 64 black-and-white photographs. Original grey cloth, spine lettered in gilt, upper side lettered in blind; very light foxing to endpapers. Original dust-jacket, printed in

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Fakir Musafar, Nipple loop with solid brass ring.

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yellow and red, text in black and illustrated with a black-andwhite photograph to upper side and spine; 20 mm piece missing from head of spine, lightly soiled and light creasing to top and bottom edges. Near-ﬁne in a very good dust-jacket. First edition. Nash took these photographs as studies for his paintings, but found them well received in their own right. Reproduced is a letter to a friend in which he writes: ‘I have always found it impossible to stay in a new place or even to pass through new country without a strong desire to record my impressions. In recent years, since I have been unable to roam about freely I have developed a method of working by the aid of another “eye” – the camera’s eye – which records so rapidly and with beautiful precision. Several recent landscapes have been painted from photographs taken, with this purpose in view… The result has been that I have developed something like a new consideration of landscape pictorially.’

were American, with Shore _j[c ''+ the only one who worked in colour. Whilst absent from the exhibition, Jenkins writes of the importance of Ed Ruscha’s books _j[ci '&," '&-" '&. as an antecedent to the work in the exhibition. He suggests that ‘If “New Topographics” has a central purpose it is simply to postulate, at least for the time being, what it means to make a documentary photograph.’

99 i[[ f$'+

PESAN, Miroslav and HOFMAN, Ota. Klaun Ferdinand a Raketa [Clown Ferdinand and the Rocket]. Prague: SNDK, 1965. £125

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[NEW TOPOGRAPHICS]. New Topographics. Photographs of a man-altered landscape. Robert Adams, Lewis Baltz, Bernd and Hilla Becher, Joe Deal, Frank Gohlke, Nicholas Nixon, John Schott, Stephen Shore and Henry Wessell, Jr. Rochester, New York: International Museum of Photography at George Eastman House, (1975). £1,200 4to (226 × 254 mm), pp.48. 56 black-and-white photographs. Original wrappers, text printed in grey to spine and upper side; Occasional very light marks to wrappers, head of spine lightly bumped with light creasing to spine and bottom right corner. Introduction by William Jenkins. The title of this exhibition refers to 19th century topographical photography, in particular the charting of the American West by photographers such as Timothy O’Sullivan. Those included share an interest in the transformation of the American landscape into real estate, particularly evident in the work of Adams i[[ _j[c ' and Baltz _j[c - who continue to document these changes. With the exception of Bernd and Hilla Becher _j[ci /" '& all of the photographers

4to (253 × 191 mm), pp.[64]. 86 black-and-white photographs. Original glazed paper-covered boards, printed green, brown and pink, illustrated with a colour photograph to upper and to lower sides; lightly rubbed. No dust-jacket as issued. Design by Vaclav Blaha. Near-fine. First edition. When a rocket turns up in this small Czech town the inhabitants flee for fear of an invasion. However, Clown Ferdinand and three young companions stay and take a trip into the cosmos. The tale is told by Ferdinand’s parrot Roberta. Pesan’s photographs were taken on the set of the 1963 film of the same name.

100

PETERKA, Miroslav and HRABEL, Bohumi. Toto mesto je vespolecne peci obyvatel [This Town is Under the Control of its Citizens]. (Prague: Ceskoslovensky Spisovatel), 1967. £600

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8vo (238 × 164 mm), pp.[96]. 52 black-and-white photographs. Original black cloth, spine lettered and upper board lettered and ruled in green; touch of sunning to foot of spine. Original black thread page marker attached at spine. Original cream dust-jacket printed in black; two short closed tears to upper panel, spine lightly sunned, three short closed tears to and a small piece missing from lower panel, rear flap creased. Design by Oldrich Hlavsa. Near-fine in a very good dust-jacket. First edition. Miroslav Peterka’s photographs in this volume are bleak and melancholic, showing crumbling walls, shop fronts, signs, the citizens of Prague and a mask lying at the foot of a street lamp. Similar to On The Needles of These Days, the sequence ends with a picture of a wedding and then a baby entering a box, suggesting a ray of hope or mirroring the irony in the title. Bohumil Hrabel was an important Czech writer whose works were banned after the 1968 Soviet invasion. He is best known for Closely Watched Trains, his 1965 novel set in Czechoslovakia during the German Occupation. Toto mesto… is the first volume in the HU+SA (humour and satire) series published by Ceskoslovensky Spisovatel. FWhh WdZ 8WZ][h _ (((#)$

101 i[[ f$('

PETERSEN, Anders. Café Lehmitz / Text von Roger Anderson. (Munich): Schirmer/Mosel, (1978). £375

8vo (238 × 212 mm), pp.18, [2] blank, [96]. 88 black-and-white photographs. Original wrappers; edges lightly rubbed. Original dust-jacket attached at spine, text printed in black and illustrated with black-and-white photographs on upper and lower panels; nicks to hinges at head of spine, short closed tear and 15 mm closed tear repaired with tape to lower side. First edition. Between 1965 and 1968 Pertersen was a student of fellow Swedish photographer Christer Strömholm i[[ _j[ci ''/" '(&" '(' . Strömholm had discovered Petersen sneaking into the darkrooms at the Stockholm Fotoskalan to make prints. On seeing his work Strömholm admitted Petersen to the school and encouraged him to photograph subjects

that held a personal meaning. Petersen travelled to Hamburg where he had lived previously and began photographing in Café Lehmitz in 1967. Located at the end the Reeperbahn, Café Lehmitz was a place of refuge for those on the margins of society. Petersen spent much time there over a period of over two years getting to know the locals, often giving them prints and letting them take pictures themselves. The resulting book is an authentic portrait of these people, ‘one of the ﬁnest photobooks of the decade’ FWhh . Ef[d 8eea )'.#/1 FWhh WdZ 8WZ][h _ ()&#'$

102

[PROVOKE 4 and 5]. First Abandon the World of Certainty. (Tokyo: Tabata Shoten, 1970). £1,500 8vo (205 × 144 mm), pp.341, [3] blank. 95 black-and-white photographs. Original wrappers illustrated with a black-andwhite photograph, text in red and black; light toning to prelims and outer edges. Original dust-jacket printed in imitation of wrappers; very light spotting to lower side. Japanese bookseller’s ticket pasted on to front free endpaper, publisher’s information laid in. Near-ﬁne. First edition. Provoke was founded by Takahiko Okada, Koji Taki, Yutaka Takanashi i[[ _j[c '(+ and Takuma Nakahira. In the ﬁrst issue, published in November 1968, they outlined their intentions: ‘Visual images are not ideological in themselves. They cannot represent the totality of an idea, nor are they interchangeable like words. However, their irreversible materiality – fragments of reality snapped by the camera – belongs to the obverse side of the world of language. Photographic images, therefore, often unexpectedly provoke language and ideas. Thus the photographic language can transcend itself and become an idea, resulting in a new language and in new meanings...’ The magazine ran for three issues, the last being in August 1969. First Abandon The World of Certainty was intended as a summary of the group’s activities and they disbanded after its publication. Ef[d 8eea (+(#)$

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103 i[[ f$(&

RAY-JONES, Tony. A Day Oﬀ. An English Journal by Tony Ray-Jones. 120 photographs with an introduction by Ainslie Ellis. London: Thames and Hudson, (1974). £900

4to (262 × 233 mm), pp.16, 128. 120 black-and-white photographs. Original tan cloth, spine lettered in gilt with publisher’s device in gilt to upper side; binding shaken at head as is common, light rubbing to foot of spine and tips. Original price-clipped dust-jacket, text printed in black, illustrated with black-and-white photographs to upper and lower panels. Very good in a near-ﬁne dust-jacket. First edition. Ray-Jones spent some time in America during the early to mid 1960s, training as a graphic designer at Yale and later with Alexey Brodovitch. On returning to England in 1966 he sought to photograph the ‘English Way of life’, in particular how people spent their leisure time. ‘I want my pictures to bite like the images in Buñuel’s ﬁlms which disturb you while making you think. I want them to have poignancy and sharpness but with humour on top… My aim is to communicate something of the spirit and the mentality of the English, their habits and their way of life, the ironies that exist in the way they do things, partly through tradition and partly through the nature of their environment and mentality.’ Ef[d 8eea )&(#)$

104

RICHARDS, Eugene. Dorchester Days. Postscript by Dorothy Lynch. (Wollaston, Massachusetts): Many Voices Press, (1978). £500

4to (303 × 258 mm), pp.[64]. 77 black-and-white photographs. Original wrappers, printed in red, text in black and illustrated with a black-and-white photograph on upper side; lightly rubbed with a bump and tear to head of spine. Design by Guy Russell. Author’s inscription in black ink to half-title. First edition, presentation copy, warmly inscribed in the year following publication: ‘Mort Gitelman – / Just hearing from you / was a pleasure, recalling / the delta that I love, that’s / more home still than my true / home. I hope to return soon. / Eugene Richards / 7/18/79 / Dorchester, Mass.’ Richards ﬁrst book Few Comforts or Surprises: The Arkansas Delta (1973) contains pictures he made in the south, working as a news reporter and social worker. ‘Dorchester Days is a homecoming. Eugene Richards’s photographs are crowded with Dorchester’s oldest and newest immigrants, with ﬁrst communions, funerals, weddings, racial clashes, with the wearing down and renewal of a city. Dorchester Days mourns and celebrates the irrefutable process of change.’ Ef[d 8eea )(&#('1 FWhh WdZ 8WZ][h __ )&#'$

105

RIEBESEHL, Heinrich. Agrar-landschaften [Agricultural Landscapes] mit einem Text von Peter Sager. (Bremen: Verlag J. H. Schmalfeldt, 1979). £300

Folio (399 × 296 mm), pp.96. 79 black-and-white photographs. Original black cloth, spine and upper side lettered in blind. Original dust-jacket, printed in black and illustrated with a black-and-white photograph on upper panel; lightly sunned, two short closed tears to lower panel, upper panel has a closed tear at foot of spine at hinge, closed tears to fore-edge at ﬂaps. Design by Hartmut Brückner. Fine in a very good dust-jacket. First edition. Riebesehl is concerned with the cultural phenomena of the agricultural and industrial landscape. In Agrar-landschaften he photographed landscapes around Hanover that had been modiﬁed to suit human needs. FWhh WdZ 8WZ][h __ (,-$

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106

108

RUSCHA, Edward. Thirty Four Parking Lots in Los Angeles. [California]: (Edward Ruscha), 1967. £3,750

RUSCHA, Edward. Real Estate Opportunities. [California]: (Edward Ruscha), 1970. £1,000

4to (253 × 203 mm), pp.[48]. 31 black-and-white photographs (one with folding tab). Original wrappers, red text to spine and upper side. Original glassine; very lightly toned and with a crease to corner of inside ﬂap. Author’s inscription in blue ink to inside front wrapper. Fine with near-ﬁne glassine. First edition, presentation copy, inscribed ‘Hang in there Henry and Chris! / Ed Ruscha’. This book contains 31 photographs: some contain more than one lot and some partial lots are not counted. To remove any trace of personal style Ruscha commissioned an aerial photographer to take the pictures. On the photographs he remarked ‘Those patterns and their abstract design quality mean nothing to me... I’ll tell you what is more interesting: the oil droppings on the ground.’

8vo (178 × 139 mm), pp.[48]. 25 black-and-white photographs. Original wrappers, spine and upper side lettered in black. Original glassine; very slightly toned with a short closed tear to upper edge. Fine with a near-ﬁne glassine. First and only edition, one of 4000 copies. Photographs of vacant lots advertised by For Sale signs with their locations given as captions below. Ef[d 8eea '/.#(&'$

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109

SAVILLE, Jenny and LUCHFORD, Glen. Closed Contact. Los Angeles: Gagosian Gallery, 2002. £400 107

RUSCHA, Edward. Nine Swimming Pools and a Broken Glass. [California]: (Edward Ruscha, 1968). £1,000

8vo (178 × 139 mm), pp.[64]. 10 colour photographs. Original wrappers, text printed in black. Original glassine; lightly toned and chipped. First edition, one of 2400 copies. The first of Ruscha’s books to use colour. Photographs of public and private swimming pools followed by a broken glass. Blank spreads break up the sequence and fill the final nineteen pages.

Folio (392 × 280 mm), pp.[48]. 15 black-and-white and 14 colour photographs reproduced on a high gloss paper. Original pink paper-covered boards, spine and upper side lettered in black; corners bumped, light soiling and residue from a sticker to lower side. Essay by Katherine Dunn. Design by David James Associates. No dust-jacket as issued. First edition. Saville spent some months observing a cosmetic surgeon at work. With these photographs she was attempting to capture something of the violence she witnessed at the surgery. Initially they were intended for use as reference material for her paintings. On seeing the results she felt that paint would not add anything to the images.

Ef[d 8eea '/.#(&'$

Ef[d 8eea )/.#/$ 73 r S

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110

[SCAVULLO, Francesco]; WEBER, Bruce. Bruce Weber [Retitled: Death in Los Angeles 1983 / The Homo / aids Book / by / Bruce Weber / out of the closet / at last]. (Los Angeles: Twelvetrees Press, 1983). £15,000 Folio (353 × 278 mm), pp.[160]. 86 black-and-white photographs (some toned). Original navy cloth, upper side lettered in blind; bumping to foot of spine. Original dust-jacket illustrated with a black-and-white photograph, text in violet; light soiling to lower panel and rubbing to to edges. Manuscript notations by Scavullo in black and red ink and red crayon to dust-jacket and throughout. Near-fine. Unique. First edition of Weber’s first book, re-titled and with scrawled manuscript comments to each spread by Scavullo: ‘I liked Death in Venice Because’, ‘to Hell a pretty boy is like a pretty girl’. Calvin Klein and the initials CK appear frequently. In a note on advertising Scavullo writes ‘Calvin is Trash Saint Laurent is class Dior’s [sic] have left this Planet Thank god’. To the jacket he writes of the text ‘Scavullo is a writer living in writing his age changes every day he loves love and goes for it all the time… about the author Bruce Weber is a [?] fat queen’. Scavullo was a successful fashion photographer and an in demand portraitist. He also suffered from bouts of serious depression and was unhappy at not being regarded as an artist, perhaps in the way that Weber was beginning to be lauded.

111 i[[ f$)

SCHMIDT, Michael. Waﬀenruhe [Ceaseﬁre]. Berlin: Dirk Nishen, (1987). £575

4to (299 × 265 mm), pp.[80] including one gatefold. 39 blackand-white photographs. Original wrappers, text printed in black and illustrated with toned black-and-white photographs to upper and lower sides. Texts by Einar Scleef and Janos Frecot. Fine. First edition. Schmidt was born in Berlin and has photographed there since the 1960s. Waﬀenruhe is a portrait of the city made a few years before the fall of communism. He focuses on scenes of urban decay around the Wall and the surrounding Kreuzberg district. Schmidt intersperses these photographs with portraits of young Berliners, emphasizing the psychological impact of the city’s division. Frecot refers to Waﬀenruhe as a cri de coeur that could only have eminated from a Berliner. Ef[d 8eea )),#-1 FWhh WdZ 8WZ][h __ ,+$

112

SCHUITEMA, Paul. Foto’s van Rotterdam. C. Chevalier / Boek-, Steen-, Staal- en Oﬀsetdrukkerij Rotterdam. (Rotterdam: C. Chevalier, circa 1931). £975

8vo (195 × 148 mm), 28 plates printed verso only. 24 black-andwhite photographs, 4 black-and-white photomontages. Spiralbound as issued with original plastic cover, printed red, blue and white, lower side, card; closed tear to first page, light wear to edges, foxing to lower side. Promotional book for Dutch printing company C. Chevalier. Schuitema is one of the pioneers of the New Photography and Typography in the Netherlands, using both photography and techniques of photomontage to great effect. A firm believer in photography and its ability to aid social change, he stated that ‘The photograph reports, presents the situation as it is, does not lie, does not depend on a special explanation, can never be contested, is documentary.’ He emphasized the importance of the image above that of ‘all other written or oral eyewitness reports.’ <eje]hWÉW FkXb_YW +(+#,$

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113

SEYMOUR, Daniel. A Loud Song. (New York): Lustrum Press, 1971. £1,750

114

SHERMAN, Cindy. Untitled Film Stills / With an essay by Arthur C. Danto. New York: Rizzoli, (1990). £400

4to (254 × 254 mm), pp.[60]. 70 black-and-white photographs. Original staple-bound wrappers, text printed in black and illustrated with a black-and-white photograph to upper side; lightly toned and rubbed. Ralph Gibson’s ex libris stamp in black ink to recto of front wrapper. First edition, association copy. Contains photographs taken by Seymour and also by his father and other family and friends. The title is derived from a poem written by his mother entitled A Loud Song, Mother/ For My Son Daniel Seymour which is reproduced here along with other texts including a coming of age letter from his stepfather Allen Tate and a note from Robert Frank. Frank writes: ‘Danny has a lot of hope and a lot of despair. He also has friends who share it with him. But Danny is an artist and if he’ll survive – we all will be happy and richer to see what he has done.’ Seymour got to know Frank when he lived above him in an apartment on the Bowery during the late 1960s. They had a close friendship and Seymour would often assist Frank on his films, including Cocksucker Blues (1972) which followed the Rolling Stones on their ’72 U.S. tour. At the age of 21 Seymour had inherited a large amount of money from his mother Isabella Stuart Gardner, which according to Ralph Gibson ‘he was trying to spend as quickly as possible, which he did.’ Seymour met Gibson through Robert Frank and Larry Clark and went on to pay for Gibson’s Lustrum Press to print Clark’s first book Tulsa (1971). A Loud Song was printed at the same time as Tulsa. In the introduction Seymour writes ‘This book is not an autobiography. It is not that complete. It is an attempt to use the photographic image as a language, and with that, to make literature… it is an attempt to survive – to preserve my identity’. In 1972, shortly after he finished working on Cocksucker Blues, he disappeared from a boat on route to the US from Colombia. Ef[d 8eea (.&#'$

Folio (340 × 264 mm), pp.120. 40 black-and-white photographs. Original black cloth, spine lettered in silver; corners lightly bumped. Original dust-jacket, text printed in black, illustrated with a black-and-white photograph to upper panel. Fine. First edition. In a series of photographs that evoke B-movies, French New Wave and the ﬁlms of Hitchcock, Sherman portrays herself in a variety of guises as stereotypical female characters. ‘I can think of no body of work at once so timeless and yet so much of its own time as Cindy Sherman’s stills,’ Danto writes; ‘no oeuvre which addresses us in our common humanity and at the same time induces the most advanced speculations on Post-Modernity, no images which say something profound about the feminine condition and yet touch us at a level beyond sexual diﬀerence.’ FWhh WdZ 8WZ][h __ *($

115 i[[ f$*

SHORE, Stephen. Uncommon Places. (Millerton, New York): Aperture, (1982). £800

4to (243 × 283 mm), pp.63, [1] blank. Original maroon cloth, spine and upper side lettered in brown. Original dust-jacket, printed in yellow, brown and red and illustrated with a colour photograph to upper panel; light sunning to spine and small portion of top edge. Author’s photograph by Bart Paulding, jacket design by Wendy Byrne. ISBN sticker to lower panel. Fine in a near-ﬁne dust-jacket.

75 r S

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First edition. Shore helped legitimise and expand the possibilities for colour photography in these precise and understated photographs of the American landscape, taken over a series of cross-country trips between 1973 and 1981. FWhh WdZ 8WZ][h __ )+$

117

[STANLEY, Henry Morgan]. The American Testimonial Banquet... London, May 30th 1890. £1,750

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SISKIND, Aaron. Photographs / Introduction by Harold Rosenberg. New York City: Horizon Press, 1959. £450

Folio (328 × 251 mm), pp.[112]. 50 black-and-white photographs. Original black cloth, spine lettered in silver and red, upper side blocked in silver; foot of spine rubbed and with a strip of light sunning, page edges very lightly toned. Original dust-jacket, text printed in red and black and illustrated with a black-and-white photograph on upper panel, author’s photograph by Harry Callahan on rear flap; lower panel lightly toned with a little soiling, spine lightly faded with a small chip to head, upper panel lightly rubbed with two short closed tears at fold, tips rubbed. Design by Ivan Chermayeff. Near-fine in a very good dust-jacket. First edition. Siskind was a member of The New York Workers’ Film and Photo League (1932-35) and later the Photo League (1936-41) and was actively involved in the production of their projects such as the Harlem Document (only published in 1981). However, he left in the early-forties saying that ‘the so-called documentary picture left me wanting something… For some reason or other there was in me the desire to see the world clean and fresh and alive, as primitive things are clean and fresh and alive.’ He began experimenting with the medium’s capacity for abstraction, making photographs of rocks, rust, graffiti and peeling plaster, echoing and influenced by the emerging Abstract Expressionist painters. Ef[d 8eea '.&#'1 FWhh WdZ 8WZ][h _ (+&1 Hej^ '+(#+$

11 single leaves, blue paper, 204 × 115 mm, mounted recto and verso on thick card sheets, 245 × 150 mm; 6 albumen photographs, 4 portraits of Stanley’s Chief Oﬃcers and an illustration of the Stanley Testimonial Shield by Henry van der Weyde and a portrait of Stanley by John Fergus. Fine. Calf, upper side decorated with arms and bearing Stanley’s name; extremities slightly rubbed. QM_j^0S Blue slip of paper listing those present at the banquet, loosely inserted. An album of photographs and text in honour of the famous explorer, ‘in recognition of his Heroic Achievements in the cause of Humanity, Science and Civilization’. At the banquet he was presented with a silver shield which provided a striking iconography of his triumphs and adversities. He shivers a huge boulder with a sledge hammer and is named ‘Bula Matari – The Rock-breaker, the all-powerful – the name by which he is now known through all Africa’. He encounters starvation: ‘His foragers return with but a few handfuls of fungi, beans and pepper-leaves to feed hundreds of starving men.’ Fortunately, at the banquet, he was able to consume petites timbales de foie gras aux truﬀes and other delights. One of a limited number distributed to those attending the feast.

118

STEELE-PERKINS, Chris and SMITH, Richard. The Teds. (London): Travelling Light / Exit, (1979). £150 76 r S

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4to (280 × 204 mm), pp.[128]. 72 black-and-white photographs. Original wrappers, printed in grey, text in black and illustrated with black-and-white photographs on upper and lower sides; edges rubbed with creasing, small chips to foreedge and upper right corner. Author’s inscription to half-title. First edition, presentation copy. The Teds began as an assignment for New Society magazine. Steele-Perkins went on to spend almost three years on the subject and cites it as the work that got him accepted into Magnum.

119

STRÖMHOLM, Christer. Till minnet av mig själv [In memory of myself]. (Stockholm: Foto Expo, 1965). £1,600

8vo (240 × 200 mm), pp.[xviii], [100]. 96 black-and-white photographs. Original tan endpapers. Original brown cloth, spine and upper board lettered in silver. Original white dustjacket, text in black, black-and-white photograph reproduced on upper panel, black-and-white portrait of Strömholm by Anita Lönn to lower panel; very lightly rubbed, minor abrasions to upper edge, short crease to corner of rear ﬂap. Text by Tor-Ivan Odulf. Fine in a near-ﬁne dust-jacket. First edition. The title alludes to Strömholm’s extensive European travels. In 1962 he returned to Stockholm and together with Tor-Ivar Odulf set up the Fotoskolan, where he taught students, including Anders Petersen i[[ _j[c '&' the importance of developing a personal relationship with your subject. In his view a photographer should only approach a subject in which they have a solid grounding in personal experience, using photography as a way to reach a deeper knowledge of themselves. ‘If you do not participate in life, you don’t get any good images’, he declared. Ef[d 8eea ()(#)1 FWhh WdZ 8WZ][h _ (+'$

12mo (199 × 147 mm), pp.[32], [8]. 38 black-and-white photographs. Original wrappers, text in black and illustrated with black-and-white photographs to upper and lower sides. Wrappers lightly rubbed with small black pen mark to upper side. Near-fine. First edition. Stromholm was initially associated with Otto Steinert’s Fotoforum group who saw photography not as reportage but as a reflection of the photographer’s personal view of the world, though he left when he felt that their aspirations were too formalist. In this, his first book, we see many of the motifs that would recur throughout his later work.

121 i[[ f$''

STRÖMHOLM, Christer. Vännerna Fran Place Blanche [The Friends from Place Blanche]. Stockholm: ETC, (1983). £1,500

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120

STRÖMHOLM, Christer. Poste Restante. Stockholm: P. A. Norstedt & Söners Förlag, (1967). £2,250

8vo (238 × 233 mm), pp.[98], [5]. 88 black-and-white photographs, 12 reproductions of maps, photographs and paintings in a separate section at the end. Original salmon printed endpapers. Original paper-covered boards, spine and upper side lettered in black. Original dust-jacket, text in black and red, black-and-white photographs reproduced to upper and lower panels. Fine. First edition. These photographs were taken in the late 1950s to 1960s in the Pigalle area of Paris where Strömholm lived and worked. He got to know a number of transsexuals who gathered in the Place Blanche, developed a close friendship with many of them and continued to photograph them over a period of ten or so years. 77 r S

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Folio (303 × 277 mm), pp.224. 95 black-and-white photographs. Original paper-covered boards, silkscreened with light green day-glo ink, spine lettered in silver. Original brushed aluminium slipcase. Original card box. Texts by Sugimoto and Hans Belting. Original gravure print (436 × 536 mm) signed by Sugimoto in pencil to recto, in brushed aluminium hinged case with original card box. Design by Takaaki Matsumoto and Larissa Nowicki. Fine. First edition, one of 1000 copies issued with a signed gravure print ‘U. A. Walker, New York, 1978’. Sugimoto’s theater photographs are exposed for the exact length of the ﬁlm being projected, thus rendering the screen white.

122

STYRSKY, Jindrich and HEISLER, Jindrich. Na jehlach techto dni [On the needles of these days]. [Prague]: Fr. Borovy, 1945. £850

8vo (213 × 152 mm), pp.68. 28 black-and-white photographs. Original wrappers printed in black, text in brown and black and illustrated with a black-and-white photograph to upper side; light wear to extremities, shallow crease to front wrapper. Design by Karel Teige. First edition thus, after the extremely rare clandestine edition of 1941 issued with original photographs tipped in. The pictures in this book are taken from two series made by Styrsky from photographs he took in Paris and Prague in 1934-35 and include shop windows, mannequins, facades and street signs. It is Heisler’s text which makes the book’s intention clear, ending with an impassioned cry to rise against the Nazi occupation: ‘Get dressed, get dressed quickly and repeat with me: Regret each blow that fails to find its mark / Regret each blow that fails to find its mark / Regret each blow that fails to find its mark / and be merry’ – words which are printed opposite the photographs that end the sequence and show: children’s coffins, a child’s grave, a distressed gravestone and a broken inverted cross lying in a cemetery. Ef[d 8eea '*&#'1 FWhh WdZ 8WZ][h _ '/-1 Hej^ '',#-$

123

SUGIMOTO, Hiroshi. Theaters New York: Sonnabend Sundell Editions & Eyestorm, 2000. £1,200

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124

SULTAN, Larry. Pictures from Home. New York: Harry N. Abrams, Inc., Publishers, (1992). £400

8vo (247 × 265 mm), pp.127 (2 folding), [1] blank. 140 colour, 26 black-and-white photographs. Original green cloth, spine lettered in black, upper side lettered in blind. Original dustjacket, printed in green, text in red, illustrated with a colour photograph to upper side; light sunning to spine. Author’s inscription in black ink to title-page. Fine in a near-ﬁne dustjacket. First edition, presentation copy, of this personal book in which Sultan discusses the nature of photography and his relationship with his parents. He uses old family photographs and more recent pictures he has made of them, together with their comments on these photographs and their lives. ‘When I began to photograph, I thought of this work as a portrait of my father. In many ways, I still do… I convinced myself that I wanted to show what happens when – as I interpreted my father’s fate – corporations discard their no-longer young employees, and how the resulting frustrations and feelings of powerlessness ﬁnd their way into family relations. FWhh WdZ 8WZ][h __ )&($

78 r S

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125

Yutaka Takanashi, vintage gelatin-silver print.

79 r T

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125

Yutaka Takanashi, vintage gelatin-silver print.

80 r T

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126 i[[ f$..

TOMATSU, Shomei. I Am A King. Tokyo: Dai Nippon Printing Company, 1972. £450

125

TAKANASHI, Yutaka. Toshi-e [Towards The City]. Tokyo: [Printed for the author], 1974. £19,000

Folio (418 × 280 mm), pp.[130], 62 black-and-white photographs. Original black cloth with silver aluminium disk mounted to upper side; lightly rubbed, spine blocked in cream. Near-fine, signed. QM_j^0S Tokyo Jin [Tokyoites]. 8vo (256 × 182 mm), pp.[128]. 54 black-and-white photographs. Original black wrappers with printed label to front. Near-fine, signed. Both items housed in portfolio box, original black paper-covered boards, black paper strip to spine, small tear, edges lightly rubbed, small nick to top edge. QM_j^0S 4 vintage gelatin-silver prints (203 × 254 mm), signed in pencil to verso, from the set used to print Toshi-e. First edition, signed, with four of the original photographic prints used in the production of the book. Takanashi was a leading commercial photographer during the Japanese economic boom of the 1960s. In the January 1966 issue of Camera Mainichi Takanashi presented a thirty-eight-page spread under the title Tokyoites, in which he attempted to capture Tokyo through a series of fragmented snapshots. Some of these photographs are included in Toshi-e, a brooding and lyrical document showing the effects of Japan’s rapid economic growth and the cost paid by the country as a result of this period of unbridled consumerism. A founder member of the Provoke Group i[[ _j[c '&( , alongside photographer Takuma Nakahira, critic Koji Taki and poet Takahiko Okada, Takanashi has continued to explore the effects of commercial growth in Japan in series such as Tokyo-Jin 1978-1983. The publication of Toshi-e effectively marked the end of the Provoke era in Japanese photography. FWhh WdZ 8WZ][h _ )&)#($

8vo (239 × 208 mm), pp.269, [1] blank, [1] imprint, [1] blank. 226 black-and-white and 21 colour photographs. Original black wrappers, spine and upper side lettered in blind. Original dust-jacket printed in yellow, text in grey, black and purple, illustrated with a colour photograph to upper panel; light sunning to spine. Original cardboard slipcase printed in black. Bookseller’s ticket laid in. Fine in a near-ﬁne dust-jacket in a very good slipcase. First edition. I am a King takes its title from a series of photographs that were used as frontispieces for Gendai no me magazine where he met and encouraged Takuma Nakahira. Whilst his notion of subjective documentary photography was rejected by the Provoke photographers he nonetheless supported their work and exerted a great inﬂuence on them.

127 i[[ f$'*

[Trade Catalogue]. Photographic album for Ransomes, Sims & Jeﬀeries, Ld. c. 1926. £750 Oblong folio (230 × 300 mm), 35 leaves. Black leather-covered boards, upper side lettered in gilt; rubbed and scratched with loss at head and foot of spine. 28 silver prints; occasionally marked. Two typed sheets tipped in at front endpapers. Founded in 1789 in Ipswich, Ransomes, Sims & Jeﬀeries were one of Britain’s leading manufacturers and exporters of lawnmowers and agricultural machinery, in particular ploughs. Tipped in to the front of this catalogue is a ‘Key to Photographs’ guide to the various types of plough available. It lists 27

81 r T

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magazine adverts at the time. Although it is stated 3/5 the rest of the edition was not printed at the time and in 1993 the negatives perished during a ﬁre in Waplington’s studio, making this a unique print.

photographs, failing to mention a second picture of a ‘Jumbo’; other models include the ‘Prince’, the ‘AllConquerer’ and a ‘Globe with specially large breasts’.

128

WAPLINGTON, Nick. Living Room / Essays by John Berger and Richard Avedon. (New York): An Aperture Book, (1991). £10,000

130

Folio (240 × 315 mm), pp.[72]. 59 colour photographs. Original orange paper-covered boards, orange cloth spine lettered in silver. Original dust-jacket, printed in orange, yellow and green, text in black and illustrated with colour photographs to upper and lower panels. Design by Tibor Kalman and Laura Genninger. Fine. QM_j^0S A vintage print signed to verso. First edition, with an original print. Waplington spent four years photographing two families on a housing estate in Nottingham. His relationship with his subjects is clearly one of comfort and aﬀection. Richard Avedon, an early champion of Waplington’s work writes ‘The photographer’s triumph is to bring order out of chaos, without betraying the chaos. Waplington presents the violence in aﬀection, the sexuality in innocence, a chill at the electric hearth, all in a new vocabulary, without romance, all in the same room at the same time.’

WARHOL, Andy. Andy Warhol. (Stockholm: Moderna Museet, 1968) £650

4to (268 × 208 mm), pp.[644]. 614 black-and-white photographs. Original wrappers illustrated with a design after Warhol’s ‘Flowers’ silk-screen, printed in pink, orange, yellow and green, text in black; spine lightly creased and sunned, one page with a short closed tear starting to come loose, pages toned as is common due to quality of paper used. First edition. This catalogue for Warhol’s first major European retrospective proved to be a huge influence on Japanese photographers, both in terms of its design and through Warhol’s themes of consumerism and branding. It is divided into three sections: the first consists of black-and-white reproductions of Warhol’s work, followed by two sections of photographs of Warhol and his associates by Billy Name and Stephen Shore.

Ef[d 8eea )+*#+$

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129

WAPLINGTON, Nick. Behind the scenes at an Isaac Mizrahi catwalk show. 1992. £7,500

C-type print (203 × 610 mm). Signed and numbered 3/5 in black ink under the image. Richard Avedon introduced Mizrahi to the Living Room series i[[ WXel[ , and encouraged him to use Waplington for this advertising campaign. Waplington was given free-reign to photograph the preparations for one of Mizrahi’s catwalk shows. The resulting pictures were a refreshing change from the classically composed glamourised photographs ubiquitous in

131

WEBER, Bruce. O Rio de Janeiro: A Photographic Journal / Drawings Richard Giglio / Design Sam Shahid, Rise Daniels, Donald Sterzin. New York: Alfred A. Knopf, 1986. £375

82 r T

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129

Nick Waplington, Behind the scenes at an Isaac Mizrahi catwalk show. .

83 r W

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Folio (367 × 281 mm), pp.[196] (two gatefold). 130 black-andwhite photographs. Original wrappers, printed in purple and illustrated with black-and-white photographs to upper and lower sides; rubbing to edges. Near-ﬁne. First edition. Weber interweaves portraits, still lifes and landscape photographs with an an extended study of Brazillian Jiu-Jitsu champion Rickson Gracie, whose father Helio was one of four brothers who opened the ﬁrst Jiu-Jitsu academy in Brazil. Carlos, the eldest brother, had learnt the martial art from Esai Maeda, a Japanese champion who had emigrated to Brazil in 1914.

at police headquarters. I had my wings. I no longer had to wait for crime to come to me; I could go after it. The police radio was my life line. My camera… my life and my love… my Aladdin’s lamp.’

Hej^ (+*#+$ 133

WESTON, Brett; ARMITAGE, Merle. Photographs. New York: E. Weyhe, (1956). £1,200

132

WEEGEE (FELLIG, Arthur). Weegee by Weegee / An Autobiography. New York: Ziﬀ-Davis Publishing Company, (1961). £600

8vo (213 × 140 mm), pp.[viii], 159 (56 additional illustrated pages interspersed in five groups), [1] blank. Original black cloth, spine lettered in gilt, with design after ‘Credit Photo by Weegee the Famous’ wetstamp, in gilt to upper side; short closed tear to head and bumping to foot of spine. Original dust-jacket designed by Mort Perry, printed in black, red and green with black-and-white author’s photograph by Philippe Halsman to lower panel; light chipping to head and foot of spine, edges have a couple of nicks. Closed tear, light crease and small chip to top edge of upper panel. Author’s inscription in blue ink to front free endpaper. Near-fine in a very good dustjacket. First edition, presentation copy. Inscribed ‘To / SID / the mayor of / Hell’s Kitchen / Weegee / 1962’. Weegee [Weechee / ouija] acquired his name whilst working as a young photographer at Acme Newspictures, on account of his knack of submitting pictures to the papers before news of the event was generally known. His career really took off after he gained a special permit to have a police radio installed in his car; he was the only press photographer to have one, meaning that on occasion he would arrive at a crime scene before the police. ‘I was no longer glued to the teletype machine

Folio (326 × 272 mm), pp.104. 28 black-and-white photographs. Original black paper-covered boards, spine lettered in silver; light rubbing to corners. Original dust-jacket, text printed in black and illustrated with a detail from a black-and-white photograph; lightly soiled, small chips to head of spine at hinges. Near-ﬁne in a very good dust-jacket. First edition, one of 500 copies, designed by Armitage who introduces this collection and writes that Weston ‘may not have been born with a camera in his hand, but one was placed in his hands, at his request’. Also reproduced is a copy of Armitage’s review of Weston’s ﬁrst solo exhibition at Jake Zeitlin’s Gallery in New York, 1930.

134

WICKI, Bernhard. Zwei Gramm Licht [Two Grams of Light] / Herausgeber Georg Ramseger / Vorwort Friedrich Dürrenmatt. Zurich: Interbooks, (1960). £500

4to (274 × 202 mm), pp.104. 70 black-and-white photographs reproduced in gravure. Original photographic endpapers.

84 r W

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Original black paper-covered boards, paper label with blackand-white photographic illustration and text in black to spine, upper and lower boards. Original dust-jacket illustrated with a black-and-white photograph, text in black and red; small chip at foot of spine, short closed tear to upper panel at flap. Fine in a near-fine dust-jacket. First edition. Wicki is an Austrian Film-maker best known for his 1959 film Die Brücke [The Bridge]. ‘This is an expressive, personal meditation on life, and the pictures… are moody, dark and grainy. Yet they also display a studied, graphic quality, a self-consciousness that keeps them in the documentary vein. However we might choose to pigeonhole its style, Zwei Gramm Licht is a fine photobook, an urban mood piece that chronicles the photographer’s wanderings across the postwar European landscape’ FWhh . FWhh WdZ 8WZ][h _ ('+$

135

YOKOO, Tadanori. Waterfall Rapture / Postcards of Falling Water / My Addiction / My Collection / My Edition. (Tokyo: Shinchosha Company, 1996). £395

4to (255 × 184 mm), pp.[288]. Original illustrated endpapers. Original red paper-covered boards, spine lettered in black. Original dust-jacket, printed in red and black and illustrated with a colour photograph; very light sunning to spine. Original obi printed in light blue, text in black; light crease and short split at upper hinge. Fine in a near fine dust-jacket with obi. First edition. Tadanoori Yokoo is one of post-war Japan’s most influential graphic designers, and one of the first to achieve considerable fame in the West. In 1972 he had a major exhibition of his work at the Museum of Modern Art, New York. Yokoo has worked on a number of important Japanese photobooks as designer, writer or photographer, perhaps his best known contribution being his design for the re-edited second edition of Eikoh Hosoe’s Ordeal by Roses i[[ _j[c ,+ . The postcards reproduced here – which number over 13,000 – came from all over the world, following an

initial request to friends, students and colleagues to send him any they could ﬁnd. He had initially intended to use them as source material for paintings. FWhh WdZ 8WZ][h __ ((*#+$

136

Žijeme / Obrázkov´y magazin dnešní doby [Life: An Illustrated Magazine for the Present Day]. Prague: DruŽstevní Práce, (1931-1933). £2,500 2 vols, large 8vo (243 × 170 mm), pp.[iv], 380; [iv], 316 (vol.2 has wrappers bound in at rear for year 1932-33). Numerous black-and-white photographs, drawings, plans and reproductions of paintings. Vol.1 bound in green decorated boards, green cloth spine, lettered in gilt. Top edge dyed green. Vol.2 bound in orange cloth, spine and upper side, lettered and ruled in gilt. Top edge dyed orange. Bindings lightly rubbed, internally near-ﬁne. A complete run. Designed by Ladislav Sutnar and illustrated with photographs by Sudek, Moholy-Nagy, Funke and Man Ray, Žijeme was the second periodical published by publishing cooperative DruŽstevní Práce. Its editorial concerns were contemporary life and culture, including: photography, literature, theatre, cinema, architecture and urban planning. The present issues were co-published with Svaz ceskoslovenskeho dila, a cooperative of applied artists. After two years the two organisations split; DruŽstevní Práce continued to publish the periodical under the name Jak Žijeme (How We Live), and from 1934 as Magazin DP. <eje]hWÉW FkXb_YW ,()#, 1 <hWi[h +' $

85 r Z

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