Page 1

f 39 p

printed green with an illustration of a camera and an owl in black, title to spine in black; laminate lifting slightly at hinges. Light offsetting to title-page and opposite from publisher’s bookmark which is laid in. Alvermann’s signature in pencil to title-page. First edition, signed. ‘Keine Experimente’ was a slogan used by Konrad Adenauer, the first Chancellor of the Federal Republic of Germany. Adenauer espoused 1

a practical approach to politics which appealed to

ALBIN-GUILLOT, Laure and Chevalier

the German people who had grown weary with the


ideologies and uncertainties of the war years. He

Suite d’illustrations pour Le Grand Meaulnes

remained in office between 1949 and 1963, and oversaw

d’Alain Fournier.

the rapid period of post-war German economic growth.

Paris and Bordeaux: Henri Colas and Rousseau

Alvermann’s book is concerned with the changes in

Frères, [1946].

attitude and consumerism that were brought about


in West Germany as a result of these free-market principles. The photographs were taken between 1956

Small folio (204 × 167 mm), pp.[4], captions leaf, 19 black-

and 1961 and in an effective design they are juxtaposed

and-white photographs printed in gravure on 17 leaves

with the first 9 articles of the Basic Law of the Federal

(one folded); plates lightly toned. Original blue paper

Republic of Germany. The Basic Law is in effect the

portfolio, printed paper label on upper side; chip to head

Constitution of West Germany. When the articles were

of spine. Numbered in ink to limitation page. Near-fine.

drafted in 1949 it was decided that the term Verfassung

First edition, number 119 of 500 copies. Albin-

[Constitution] would not be used as it was seen as being

Guillot photographed figures constructed by Chevalier

a provisional document which would be replaced by

to illustrate this suite of scenes from Alain Fournier’s

the constitution of a future united Germany. In 1966

coming-of-age novel Le Grand Meaulnes [The

Alvermann moved from West to East Berlin.

Wanderer], which was published in 1913. During the 1920s and 1930s Albin-Guillot was one of the most successful photographers in Paris. She played a pivotal role in the evolution of commercial photography, and despite leading the initial French resistance to the ‘New Vision’ photography, she went on to incorporate modernist ideas into her pictorialist style.



ARINO, Eimu. Cities — Space Between Real and Unreal. Tokyo: Aim Press Company, 1983. £500

Square 8vo (232 × 244 mm), pp.[180]. 94 black-and-white 2

photographs, text by Hajime Irako. Original grey paper


covered boards, spine and upper side lettered in silver;

Keine Experimente / Bilder zum Grundgesetz

foot of spine bumped, text block starting at head of spine.

[No Experiments / Pictures for the Basic Law].

Original black-and-white photo-illustrated dust-jacket,

Berlin: Eulenspiegel Verlag, 1961.

printed silver, text in black. Arino’s inscription and


signature in silver ink to front free endpaper. Near-fine in a fine dust-jacket.

8vo (198 × 137 mm), pp.[136], 74 black-and-white

First edition, presentation copy. A little-known

photographs. Original endpapers; lightly toned. Original

book of street photographs taken in the late 1970s and

paper-covered boards, upper side illustrated with two

early 1980s throughout Japanese, European and North

black-and-white photographs, text in orange, lower side

American cities.

top and to bottom edges. Original black paper-covered card slipcase, grey paper label printed in black wrapping around spine; light wear to edges. Inscribed by Baltz in black ink to dedication page ‘and this copy is for Mary Jane + Ralph / [signed] Lewis’. Near-fine. First edition, association copy inscribed to Ralph Gibson. Here Baltz continues his investigation into the interference of man and technology with the natural 4

landscape. He began this investigation with New

BAITEL , Esaias.

Industrial Parks (1974) which was included in the New


Topographics exhibition and formed the first part of a

Stockholm: Bokomotiv, 1982.

loose trilogy with Park City (1980) and San Quentin


Point (1986). Candlestick Point is located on the western shoreline of the San Francisco Bay. During

Oblong 4to (220 × 273 mm), pp.144. 60 black-and-white

World War II the area was designated as a site for a

photographs, text by Baitel, Françoise Riss, and Arne

U.S. Navy shipyard, though the war ended before it

Ruth, design by Anders Ljungman. Original black-and-

was built. Subsequently local residents began to use it

white photo-illustrated paper-covered boards printed in

as a place to dump refuse, rubble and scrap metal.

black and grey; light rubbing to head and foot of spine and

This continued until 1973 when the California State

bottom tips. Near-fine.

Legislature purchased the land, partly in an attempt

First edition. The 1970s saw a resurgence of

to halt the dumping. It was later decided that

far-right parties in France and throughout Europe.

Candlestick Point be turned into a State Recreation

Between 1977 and 1981 Baitel, hiding his Jewish

Area and in 1987 a restoration plan was approved. Baltz

ancestry, followed a group of young neo-Nazi gang

made these photographs between 1984 and 1986 in the

members whilst he was living in the Parisian suburb

northern area.

of Aubervilliers. The resulting photo-essay provides a glimpse at families, relationships, addictions, and affectionate exchanges all taking place under the looming shadow of Fascist iconography. Auer 641.



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



BALTZ , Lewis. Candlestick Point.

Oblong folio (303 × 382 mm), pp.144. 104 black-and-white

Tokyo: Gallery Min, 1989.

photographs. Original paper-covered boards, printed in


grey with yellow design to upper and lower sides, spine lettered in yellow and grey. Original colour photo-dust-

Oblong folio (259 × 339 mm), pp.[126] (8 of which are

jacket, printed in yellow, text printed in grey on reverse;

gatefolds). 70 black-and-white and 12 colour photographs,

nick to top edge of lower panel, small crease to rear flap.

text by Gus Blaisdell in English and Japanese, design

Laid in to sleeve at rear is the original stitched pamphlet,

by Hiroshi Osaka. Original black coated paper boards,

4to (282 × 210 mm), pp.32. Original wrappers printed

lettering and Gallery Min logo stamped in grey to lower

in black and green. Design by Baumgarten and Walter

side, spine lettered in grey, grey paper label printed in

Nikkels. Author’s signature in pencil to the colophon and

black affixed to upper side; lightly rubbed, small dent to

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 U.S. 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.

CLARK , Larry.

Roth 268–9; Auer 689.

1992. New York and Cologne: Thea Westreich and Gisela Capitain, 1992. £1,000

4to (271 × 209 mm), pp.336. 338 black-and-white photographs. Original black-and-white photo-illustrated wrappers, spine titled in black; light reading crease to middle of spine, foot of spine lightly rubbed. Near-fine. First edition, one of 1000 copies. 1992 is divided into sections which focus on five different adolescent boys, 7

three of whom act out suicide fantasies. Clark’s original


intention when he started taking photographs of these

Paris de Nuit.

boys was that he would incorporate the images in to the

Paris: Édition Arts et Métiers Graphiques, [1933].

collage work concerned with teen suicide and murder


he was making at the time. Clark has said of the work, ‘I don’t know what to make of these new photographs,

4to (248 × 192 mm), pp.[i], 1, [xii], 2–62, [1]. 64 black-and-

but I like them. They are so different, because they

white photographs printed in gravure. Original spiral-

are obviously staged. But all the elements are there,

bound black-and-white photo-illustrated card wrappers,

and they’re disturbing. They’re strong and they’re

text printed in red; a few patches discreetly re-touched by

threatening in a way but, at the same time, there’s a

a previous owner, bottom tab on upper side detached from

vulnerability and an innocence. Kids are doing this.’

spiral binding. Near-fine. First edition. Brassaï studied painting in Budapest and Berlin before settling in Paris in early 1924. He


enjoyed exploring Paris at night, roaming the mostly empty streets, parks, cafes, and bars, occasionally accompanied by Léon-Paul Fargue or Raymond Queneau. Around 1930 he sought a means to express these sights so he borrowed a small camera and began to carry it with him. Brassaï’s ability to observe details and scenes that usually went unnoticed led Henry Miller, who based a character in The Tropic of Cancer (1934) on him, to remark in The Wisdom of the Heart (1941) that he ‘has that rare gift which so many artists


despise — normal vision. He has no need to distort

COPPENS , Martien.

or deform, no need to lie or to preach… When you

Impressies 1945 / Geteisterd Nederland [Impressions

met the man you see at once that he is equipped with

1945 / Stricken Holland].

no ordinary eyes. His eyes have that perfect, limpid

Eindhoven: N. V. Uitgeversmaatschappij, 1947.

sphericity, that all-embracing voracity which makes the


falcon or the shark a shuddering sentinel of reality’. Regards (57); Fotografia Pública (100–3); Roth 76–7; Parr and Badger i 134; Open Book 110–1; Auer 198.

4to (340 × 244mm), pp.[132]. 66 black-and-white photographs printed in gravure, foreword by Coppens.

Original cream boards, title to upper side printed in

introduction by Michael Wood, essay by Rob Powell,

residency there. These dimly lit pictures were taken at

brown, original red cloth spine lettered in gold; light

design by Christopher Ward. Original grey cloth.

night from a parked car, are devoid of people and evoke

toning to boards, tips and bottom edges rubbed. Original

Original black-and-white photo-illustrated dust-jacket,

a feeling of oppression, fear and uncertainty inherent

dust-jacket, printed in black with a photographic

text printed in black; light wear to edges, spine very lightly

when living in a divided society. These together with an

reproduction affixed to upper panel; lightly toned, chip

toned, short closed tear to top edge of lower panel at spine.

interest in surveillance and documentation are common

to head of spine and closed tear with some creasing to lower

Signed and numbered in black ink to limitation page.

themes in Doherty’s work, much of which is concerned

panel internally strengthened with tape, chips to tips

Fine in a near-fine dust-jacket.

with the conflict in his native Northern Ireland.

and bottom edge of lower panel. Near-fine in a very good

First edition, number 2 of a proposed edition of

dust-jacket. First edition in the scarce dust-jacket. Before the

250 clothbound copies, of which only around 50 were 11

actually produced. John Davies began photographing

Second World War Martien Coppens made a number


rural Britain in the mid-1970s. He discussed his early

of topographical photographic books showing the

Gli Esclusi / fotoreportage da un’istituzione totale.

motivations with Susan Butler in Creative Camera:

landscape, people and architecture of his native

Milan: Casa editrice il Diaframma, 1969.

‘I thought I was committing a political act in making

Brabant, a region in the Netherlands close to the border


pictures in which I wanted people to experience this respect for the land, a respect which people like

with Belgium. With this work Coppens employed his customary romantic style to show the devastation

Folio (310 × 241 mm), [120]. 98 black-and-white

Margaret Thatcher don’t seem to have. But I decided to

wrought in the Brabant, Limburg and Zeeland regions

photographs, text by Sergio Piro, design by Michele Ketoff.

get away from this Romantic landscape because I felt

of the Netherlands during the Second World War.

Original endpapers; lightly toned. Original grey paper-

the pictures were mostly appreciated by viewers who

EMIN , Tracey Karima.

covered boards, spine and upper side lettered in black.

appreciate that sort of thing anyway’. In 1981 he was

Details of Depression.

Original black-and-white photo-illustrated dust-jacket,

awarded a one year fellowship at Sheffield Polytechnic.

London and Cyprus: [privately printed], 2003.

text printed in black to lower side and spine, and in red to

It was here that he began what would become an


upper side; very light rubbing to lower side. Near-fine.

ongoing investigation and documentation of the

Parr and Badger i 195; Auer 320.

First edition. The psychiatric institution at Materdomini di Nocera Superiore, Salerno was typical


legacy of industrialization on the industrial and post-

12mo (149 × 106 mm), pp.[16]. 11 colour photographs.

industrial landscape of England’s towns and cities.

Original stapled wrappers, upper side printed in black,

of many in Italy at that time. D’Alessandro began

Parr and Badger ii 62–3.

lower side press-numbered 142. Signed and dated by Emin in blue ink to title-page. Fine.

photographing there in 1965, and together with the

First edition. Emin took these photographs which

photographs taken in similar institutions by Gianni Berengo Gardin and Carla Cerati (published in Morire

include shop window displays, tired furniture and


di Classe, 1969), this book was instrumental in bringing

abandoned household goods in Northern Cyprus

COPPENS , Martien.

public attention to the conditions that patients were

where her father was born. The book begins with the

Monsters van de Peel.

living in. Sergio Piro, the director at Salerno, was

statement, ‘when your sad you only see sad things’, and

Eindhoven: Lecturis, 1958.

fired in 1969 after voicing his concern at the way

ends with a 13th century Arabic poem: ‘I poured out my


such institutions were run. Piro supported Franco

worries / to a friend / hoping it would make me / feel

Basaglia’s successful campaign for their closure, which

better / all that happened became / an open secret / fire

Oblong 4to (195 × 263 mm), pp.[32]. 18 black-and-white

culminated in 1978 with a law that saw widespread

photographs (5 are colour-tinted), text by Coppens, design

reform of the Italian mental health system.

flies in the dark’. 13

DOHERTY, Willie.

by Herman Rademaker. Original printed endpapers. Original illustrated paper-covered flexible boards. Fine.

Extracts From a File.

First edition. Monsters van de Peel was created as

Göttingen: Steidl, 2000.

a promotional book for Lecturis, a Dutch printer. In


an experimental layout, designer Herman Rademaker combined Coppens’s photographs of burned trees and

Oblong 4to (235 × 292 mm), pp.[88]. 40 black-and-white

stumps which resembled misshapen monsters with

photographs, text by Hans-Joachim Neubauer, Friedrich

words such as ‘turfstekers’ [peat-cutter] and ‘peel brand’

Meschede, and Eva Schmidt. Original light green cloth,

[swamp fire] which are given a form that attempts to

spine and upper side lettered in dark green; top and

express their meanings. ‘It appears that Rademaker

bottom corners lightly bumped. Original glassine dust-

FELDMANN , Hans-Peter.


and Coppens were inspired by the prevailing ideas in


jacket; light wear to edges, small pen mark to lower panel.

Bilder / Pictures.

the Fifties about the artist as discoverer of new signs.

DAVIES , John.

Signed and numbered 34/40 by Doherty in blue ink to

Munich: Kunstraum Munchen E.V., 1975.

Particularly within the French abstraction lyrique

A Green & Pleasant Land.

half-title. Near-fine. Laid in is a gelatin-silver photograph


movement and the Cobra movement, the idea of the

Manchester: Cornerhouse Publications, 1987.

(178 × 240 mm), signed and numbered by Doherty in blue

surrealists — that any form can function as a sign and is


ink, also with printers instructions to verso. First edition, one of 40 signed copies with a

laden with suggestions of hidden meanings — was taken

8vo (208 × 148 mm), pp.20, [318]. 424 black-and-white photographs. Original brown card wrappers, black text

further’ (Photography Between Covers 36).

Oblong 4to (231 × 299 mm), pp.[88]. 38 black-and-

signed photograph. Extracts From a File consists of

to spine and upper side; light rubbing to spine edges.

Parr and Badger ii 190.

white photographs including front and back covers,

photographs made in Berlin during a year-long DAAD


First edition, limited to 500 copies, reproducing all

Some Aspects of Our National Heritage and Britain in

of the pictures from the Bilder series in chronological

Colour with Belligerent Rock Intrusions are two artist’s

order. A combination of found images and photographs

books by British artist David Ferry. Each is an adjusted

by Feldmann, they originally appeared in small

copy of a pictorial British tourist book of the 1950s,

booklets of various sizes, with ‘Bild’ or ‘Bilder’ stamped

which Ferry has used as a starting point for a series

on the cover along with a number corresponding to the

of photomontages. He uses material from building

number of photographs reproduced. Bilder 12 contains

brochures, DIY magazines and in the case of Belligerent

12 photographs of aeroplanes, Bilder 9, 9 photographs of

Rock Intrusions recreational climbing literature to

people on bikes, etc.

deconstruct the notion of British national identity and heritage. ‘The tourist literature genre that is celebrated and defiled in David Ferry’s photomontages is thus at one and the same time an experience of travel, or imagined travel, and photography; a combination that enshrines the contradictions of an accelerating modernity sharply colliding with a sense of “England” that veers between pure nostalgia on the one hand and an earnest striving for good design on the other; between honest and largely commonplace patriotism and a concealed phobic rejection of “the continent” and all her foul ways’ (Taylor).


FERRY, David. Some Aspects of Our National Heritage. [n.p], 1994 / 1996. £POA

4to (252 × 204 mm), pp.[128]. Photo montages using photographic and printed source material throughout. Original yellow cloth, spine lettered in silver. Black-andwhite photo montage dust-jacket, text printed in red, re-titled by the artist in black and white letraset. Signed in pencil to title-page and again to rear endpapers.

18 p

FIERET, G. P. Le monde entier [The Whole World] / 30 Juni 1979. Appledorn: Van Reekum Edition, 1979. £2,500

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; lightly shelf-worn, short closed tear to flap at top edge. Containing 2 sheets of printed paper, 25 c-type photographs (88 × 129 mm) and 2

f 17 p

f 17

gelatin-silver photographs (179 × 138 mm) mounted to 15

FERRY, David.

sheets of coloured card (288 × 203 mm). Near-fine.

Britain in Colour with Belligerent Rock Intrusions

One of 100 copies. In the late 1950s Fieret began

(mainly in) Black & White.

a body of work consisting mostly of self-portraits and

[n.p], 2006.

candid female nudes. In the 1970s he stopped taking


photographs and worked solely with existing images from his archive, re-cropping and creating composites

4to (247 × 188 mm), pp.112. Photo montages using

and montages. Interest in his work has grown steadily

photographic and printed source material throughout.

and with the increased interest an increasingly

Colour photo montage dust-jacket, title printed in black

concerned Fieret began prominently stamping and

and red, re-titled by the artist in black and white letraset.

signing the front of his prints so as to protect the

Signed in pencil to last page.

integrity of his ideas.

f 18 p

f 23 p

4to (292 × 230 mm), pp.[136]. 56 black-and-white

Management Today, Griffin incorporated a sense of

photographs, text by Nadine Gordimer. Edges dusty.

theatre into his work, and was to have a large influence

Original grey cloth, spine lettered in gilt; light shelf-wear,

on the visual language of commercial photography. For

foot of spine bumped. Original black-and-white photo-

this, his first book, Griffin asked Barmey Bubbles to

illustrated dust-jacket, printed in black, text in grey and

interpret the photographs with simple diagrams.

gold; spine and edges rubbed, short closed tears, chips and creasing to head of spine, creasing to top edge of both panels. Near-fine in a very good dust-jacket.


GATEWOOD, Charles.

First edition of the photographer’s first book.


The Dream Machine.

Goldblatt has made a broad and objective body of work


[n.p]: Sun in Scorpio, 1973.

documenting life in South Africa for over fifty years.

LAMF [Lost Angels and Missing Friends or Like a


The photographs presented in On The Mines provide

Mother Fucker] / Three Days in Berlin.

an examination of the gold-mining industry in the East

[Self-Published], 1987.

Small folio (180 × 180 mm), pp.[20] with 7 original

Rand area of South Africa where he grew up. It includes


gelatin-silver photographs and 9 text sheets pasted in.

photographs of architectural details and interiors,

Original stitched handmade paper wrappers; light wear

miners sinking a shaft and finally a selection of

8vo (220 × 170 mm), pp.[8], 28 gelatin silver prints tipped

GRIFFIN , Brian.

to edges, spine lightly rubbed, tear to foot of spine, crease

portraits of men who work within the mining industry.

on to archival mounts, each numbered with a red or black


and tear to bottom corner of upper side. Number 5 of 10


ink stamp. Original blue cloth, upper side titled in gilt.

London: [Self-published], 1987.

copies, Gatewood’s signature in black ink to title-page.

Original dust-jacket made from contemporary Berlin


Gatewood’s initialed statement in black ink to final page.

newspaper, title stamped in black ink to upper panel.

Auer 569.

First edition, signed, one of 10 copies. Brion Gysin has related how, on a bus to Marseille, heading through

Title stamped in black ink to title-page, brown paper title

8vo (148 × 108 mm), pp.64. 27 black-and-white

and ticket tipped in. Signed and numbered 99 of 100. Fine.

photographs, introduction in English and French by

First edition, one of 100 copies, each containing a

an avenue of trees, he experienced ‘an overwhelming

François Hébel. Original black textured card wrappers, spine and upper side lettered in silver. Fine.

flood of intensely bright patterns in supernatural

different selection of photographs. In 1982 Gossage

colours’. This foreshadowed his discovery of Ian

was invited to exhibit and give a workshop at the

Somerville’s Dream Machine, a simple construction

Werksatt für Fotgrafie in Kreuzberg, Berlin. This trip

director of the Rencontres d’Arles, writes, ‘His

of a bulb and slotted cardboard cylinder placed on a

‘galvanised him, as an archaeologist is galvanised by

characters are often famous, but it is something else

gramophone. Gysin modified the device by adding an

a suspicious looking mound in the desert and a few

that Brian is after. Power places those who have it on a

additional interior cylinder with a painting on it, and

pottery shards’ (Badger). In Berlin, where the past was

pedestal. Brian sees them as statues.’

patented it in 1961 as a ‘procedure and apparatus for

manifestly visible, Gossage began making photographs

First edition. In his introduction François Hébel,

that would inform all of his subsequent work.

the production of artistic visual sensations’. Watching


the patterns produced by the machine, he noted that


‘all conceptions of being dragged or tired had dropped


away’. Gatewood took these photographs whilst in

Johannesburg: Goodman Gallery Editions, 2003.

London on assignment for Rolling Stone. They show


Gysin and his friend William Burroughs experimenting with the Dream Machine. Burroughs contributed texts

Folio (370 × 350 mm), pp.[60]. 27 black-and-white

to Gatewood’s first published book Sidetripping (1975).

photographs. Original black cloth, spine and upper side lettered in blind. Original cream dust-jacket, text printed in black and grey. Fine.


HARE , Chauncey.

First edition, one of 500 copies. Finding himself

Interior America.

unsuited to the style of the ‘decisive moment’, Goldblatt concentrated on a more static, deliberate approach,

f 23

Millerton, New York: An Aperture Book, 1978.

examining the way different social groups displayed

GRIFFIN , Brian [and Bubbles , Barney].


themselves, both under and after Apartheid. ‘I found…

Untitled [Copyright 1978].

that in both economics and photography, I was looking

[London: Self-published], 1978.

Oblong 4to (229 × 281 mm), pp.[176]. 77 black-and-white

for the same thing: a grasp of social reality; the means


photographs, introduction by Hare, design by Marvin Israel and Kate Morgan. Original oatmeal cloth, spine

for comprehending its complexity and of reducing that understanding to communicable statements’ (Goldblatt

Folio (298 × 211 mm), pp.[32]. 16 black-and-white

lettered in grey; corners lightly bumped. Original beige


417). The photographs in Particulars were made mostly

photographs, design and additional black line drawings

dust-jacket, black-and-white photograph on upper panel;


in 1975; they illustrate how small details of clothing,

by Bubbles. Original black-and-white photo-illustrated

light rubbing to head of spine and tips. Near-fine.

On The Mines.

hair, and skin can lead the viewer to make judgements

wrappers; light handling marks. Near-fine.

Cape Town: C. Struik (PTY) Ltd., 1973.

about class, colour, time and place.


Parr and Badger ii 114–5; Auer 785.

First edition of Griffin’s first book. Under the guidance of Roland Schenk, art-director of

First edition. In a stark, highly intimate introduction Hare gives an account of his life and the journey he made from repressed corporate engineer to

photographer. With letters from museum directors and

4to (241 × 176 mm), pp.[ii], 148. 102 black-and-white

also the historic island. Soon it will disappear, effaced

dust-jacket, printed in black and green; corners lightly

state governors he was able to gain access to the homes

photographs, design by Alexey Brodovitch and Peter

by the second, wiped off the board because it is not

rubbed, occasional small nicks, short closed tear with a

of his countrymen, ‘the homes that Frank sped by when

Pollack. Original endpapers; slightly toned. Original tan

economically viable in a system where profits have to be

little creasing to top edge of lower panel. Near-fine.

taking the pictures for The Americans … [his] vision is

cloth, spine and upper side lettered in black; lightly soiled.

large enough for tax evasion to be worth the arranging.’

the knowing and intimate, loving and hating vision of

Original black-and-white photo-illustrated dust-jacket;

McCombe, a Manxman, was hired by LIFE magazine

First edition in the rare dust-jacket. In 1945

the insider’ (Malcolm 137). Hare ‘laid waste to whatever

soiling to lower panel, shallow creasing and chips to

who, keen to capitalize on his ability to work with

hopefulness Bill Owens had found in Suburbia, and

corners of upper panel, chip to head of spine. Inscription

available light, put a clause in his contract which

cast his camera on the bleak settings that framed the

by Kertész in blue ink to front endpaper, May 22, 1945.

forbade him from using a flash. The photographs in

experience of an even bleaker America’ (Marien 411).

First edition, presentation copy, inscribed in

Menschen erleiden Geschichte show the human cost

Open Book 316–7; Parr and Badger ii 23.

the year of publication. Kertész came to Paris from

of war for soldiers and civilians on both sides. They

Budapest in 1925 and lived there until 1936 when he

include his celebrated photographs of displaced

left for New York. The photographs in this book were

Berliners facing poverty, hunger, disease and despair

taken during this period and are arranged loosely from

as they returned home. ‘Such pictures based on the

morning through to night. This is an undoubtedly

background of a news event were dramatic indeed, but

nostalgic look at life in pre-WWII Paris by one of the

McCombe brought to them an unselfconscious and unpremeditated immediacy’ (Chapnick 30).

most influential photographers working there in the


twenties and thirties.

LARSEN , Hermann.

Regards (81); Roth 114–5; Parr and Badger i 200; Open Book 138–9; Auer 306.

Auer 330.

København ved Nat [Copenhagen by Night]. [Copenhagen]: Jespersen og Pios Forlag, [1935]. £450


4to (250 × 193 mm), pp.8, 48. 48 black-and-white

HÜTTE , Axel.

photographs, introduction by Carl Henrik Clemmensen.

Transit Berlin.

Original spiral-bound black-and-white photo-illustrated

Marseille: Fonds régional d’art contemporain, 1992.

wrappers, text printed in green; very light rubbing to


extremities. Fine.

Folio (303 × 241mm), pp.48 (including 5 six-page folding

Copenhagen is clearly influenced by Brsssaï’s Paris de

leaves each reproducing a triptych from the series); tip of

Nuit [1932] in both its form and content.

First edition. Larsen’s photographic study of

one leaf slightly creased otherwise fine. Bound around 2 thin wooden slats. Original colour illustrated wrappers, pasted to spine. Some light wear to extremities. First edition. Each of the five triptychs reproduced

Auer 220.


MEATYARD, Ralph Eugene.


The Family Album of Lucybelle Crater.

KILLIP, Chris.

[North Carolina:] The Jargon Society, 1974.

Isle of Man / A book about the Manx.


in this catalogue is named after a station on the

London: Arts Council of Great Britain, 1980.

U8 line on the Berlin U-Bahn: Rosenthaler Platz,


4to (266 × 230mm), pp.[2] blank, 86. 64 black-and-white photographs, texts by Jonathan Greene, Ronald Johnson,

Alexanderplatz, Moritzplatz, Kottbuser Damm, Hermannplatz and Leinestrasse. The central image

Large 4to (295 × 262 mm), pp.[100]. 69 black-and-white

Meatyard, Guy Mendes, Thomas Meyer, and Jonathan

in each is a photograph of the station sign, flanked by

photographs, preface by John Berger, design by Roland

Williams. Light offsetting to a couple of pages. Original

photographs taken at the same location.

Schenk. Original black-and-white photo-illustrated

cream cloth, spine and upper side lettered in black; tiny

wrappers, text printed in black; lightly rubbed, lower

amount of foxing to pastedowns and fore-edge. Original black-and-white photo-illustrated dust-jacket. Fine.

corner bumped. Previous owner’s inscription to front free endpaper ‘Mum / from the boys / xmas 1981’. Near-fine.

30 p

First edition. Meatyard was an optician by trade,

McCOMBE , Leonard.

and photographed mainly at the weekend and mostly

was born in Douglas on the Isle of Man and has an

Menschen erleiden Geschichte / das Gesicht Europas

in and around Lexington, Kentucky where he raised

intimate knowledge of the lives lived by the mostly rural

von der themse bis zur weichsel [People Suffering

his family. In this, his best known work, he cast his

communities, the land they work, and the changing

History / The Face of Europe from the Thames to the

wife Madelyn as the mask-wearing central character

nature of their relationship with that land. In his

Weichsel] 1943–1946.

Lucybelle Crater, a name adapted from a character

introduction John Berger writes of there being two Isles

Zurich: Atlantis Verlag, [1948].

in Flannery O’Connor’s short story The Life You Save

of Man. ‘The first is an island of fishermen and small


May Be Your Own (1953). Meatyard photographs his

First edition, simultaneous issue in wrappers. Killip


farmers. The second is a ‘tax haven,’ for companies and

KERTESZ , Andre.

individual shareholders to shelter from British income

4to (276 × 212 mm), pp.[200]. 209 black-and-white

friends and family members including Jonathan

A Day of Paris.

tax. The second was created after the war to attract

photographs, text by Bill Richardson. Original oatmeal

Williams who posthumously published this book. In the

New York: J. J. Augustin, 1945.

money to the first island’s declining economy... Killip

cloth, spine and upper side lettered in light brown; light

final photograph he himself assumed the persona.


is concerned exclusively with the first island which is

spotting. Original black-and-white photo-illustrated

wife standing with a number of other similarly masked

Roth 230–1; Auer 577.

lining to verso, pink and gold ribbon affixed to lower side. Additional smaller folded letterpress sheet with a quote from Mollino. Original aluminium box, lined with red felt; lightly tarnished, 13 of 18 stamped to lower side. One of only 18 copies of this lavish presentation of Mollino’s polaroid photographs of women. After taking the photographs Mollino developed a technique of retouching and defamiliarizing the images, whereby 32

he would scratch into and then varnish the surface of

MEENE , Hellen van.

each polaroid. This work begins with a statement by


Mollino that ‘The best explanation of one’s work is its

Milan: Gabrius Edizioni, 2000.

silent ostentation’.


4to (250 × 215 mm), pp.68. 30 colour photographs, design by van Meene and Bureau Gras. Original grey cloth, spine and upper side lettered in blind, imprint in black to spine; one corner bumped. Original colour photo-illustrated ¾ dust-jacket, printed grey, text in black to spine. Near-fine in a fine dust-jacket. First edition. Van Meene’s portraits show young women who are on the cusp of adolescence. ‘[They] invite us to address the photographed girl, to ask


questions about her identity, to analyse every feature


and to probe her personality. Because they use the

Kagerou [Dayfly].

traditional visual idioms of portraiture, we are tempted

Tokyo: Haga, 1972.

to approach them in the same way we would the


psychological portrait. And yet, because they are staged, we are prevented from encountering any essential

4to (257 × 183 mm), pp.[188]. 93 black-and-white

subject.’ (Veeters).

and 6 colour photographs, 9 pages of contact sheet

Parr and Badger ii 84.

reproductions, design by Yoshiro Tatsuno. Spotting to fore-edge. Original laminated wrappers, Japanese text in black to spine and lower side, calligraphic design

f 30 p

embossed to upper side; lightly toned, spine creased. Original paper covered board slipcase illustrated with black-and-white reproductions of contact sheets; spine toned and creased, small area of abrasions towards foot of spine. Glassine dust-jacket; toned, creased and chipped. Laid in is the original white obi printed in black; lightly toned and creased, missing ⅓ of front panel and flap. First edition, from the library of Alessandro Bertolotti. Moriyama has been quite dismissive of this, his only book of nudes, stating that he made it 33

to generate money to fund a trip to New York to visit


Yokoo Tadanori’s exhibition. During this trip he was to

Polaroid 1960.

take the photographs that would form Another Country

Turin: Fulvio Ferrari, 1997.

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

Folio (382 × 282mm), 18 colour reproductions of polaroids

for my trip. I got an advance of 500,000 yen from the

tipped on to blind-stamped sheets with an enlarged detail

publisher. In my mind I never made that book. It’s a

from each photograph reproduced opposite, all edges

pretty good book, though! Yeah, but I hope it isn’t the

dyed red. Original white wrappers with a design to the

only book of mine that survives the holocaust.’

upper side in red felt after a Mollino photograph, lace

Bertolotti 165; Auer 555.

Folio (380 × 270 mm), pp.[ii], 102. 100 black-and-white photographs, texts by Claude Nori and Gholam-Hossein Sa-Edi. Original black-and-white photo-illustrated wrappers, text printed in green to spine, green and black to upper side; light wear to edges. Near-fine. First edition. Peress, a Magnum photographer based in Paris and New York, went to Teheran in 1979 to observe the situation there during the Iranian hostage crisis. These photographs were taken during a five-week 35 p

period from December 1979 to January 1980 and were

PALLA , Victor and Martins , Costa.

first displayed as a ten-page pull out in the New York

Lisboa / Cidade Triste e Alegre [A Sad and Joyful City].

Times. The telex messages that link the photos together

Lisbon: Círculo do Livro, [1959].

were sent by Peress to and from Magnum’s New York


and Paris offices. They give an illustration of the life of a photojournalist as well as a comprehensive account of

Small folio (283 × 228mm), pp.10, [2] black paper, 11–152

Iran on the edge of revolution.

(6 of which are gatefolds, 4 printed on yellow paper, 10 half

Roth 246–9; Parr and Badger ii 252–3; Auer 652.

pages, 1 trimmed), xi essay, [1] blank, [21] index, [1] blank. 152 black-and-white photographs printed in gravure, text by Rodrigues Miguéris, poems by Eugénio de Andrade et al. Original yellow printed endpapers. Some signatures loose. White card wrappers; rubbed, reading creases to spine, three horizontal tears (two strengthened with tape), tear to hinge at head and at foot of spine. First edition, pre-bound copy. In 1956 architects Costa Martins and Victor Palla found that they were both photographing Lisbon and so decided to work on this project together. To finance the publication, Lisboa was sold in 7 monthly parts acquired by subscription. To


their disappointment it was met with indifference, but

PETERKA , Miroslav and HRABEL , Bohumi.

in 1982 António Sena discovered a number of unbound

Toto mesto je vespolecne peci obyvatel [This Town is

sheets which he arranged to be bound and re-distributed

Under the Control of its Citizens].

to coincide with an exhibition at the Ether Gallery,

Prague: Ceskoslovensky Spisovatel, 1967.

Lisbon. ‘Of the many postwar photobooks on European


cities, this is one of the best, and its neglect at the time it was published is regrettable’ (Parr). Parr and Badger i 212–3; Auer 389.

8vo (238 × 164 mm), pp.[96]. 52 black-and-white photographs, design by Oldrich Hlavsa. Original black cloth, spine lettered and upper board lettered and ruled in green. Original black thread page marker attached at spine. Original cream dust-jacket printed in black; very lightly toned. Fine. First edition. Like Styrsky’s On The Needles of These Days, 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. 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

PERESS , Gilles.

Soviet invasion. He is best known for Closely Watched

Telex Persan [Iran].

Trains, his 1965 novel set in Czechoslovakia during the

Paris: Contrejour, 1984.

German Occupation.


Parr and Badger i 222–3.

f 35 p

Large oblong 8vo (219 × 281 mm), pp.[104]. 47 black-andwhite photographs. Original black silk boards, spine lettered in red. Original black silk slipcase. Resnick’s signature to title-page. Fine. First edition, signed deluxe issue. Throughout the 1970s Resnick had documented the downtown New York music scene. With Re-visions she presents a semi-autobiographical coming-of-age narrative told in captioned staged photographs from the point of view of an adolescent girl.


RAY-JONES , Tony. A Day Off / An English Journal. London: Thames and Hudson, 1974. £575

4to (262 × 233 mm), pp.16, 128. 120 black-and-white photographs, introduction by Ainslie Ellis. Original tan cloth, spine lettered in gilt with publisher’s device in gilt to upper side; binding lightly shaken at head as is common, light rubbing to foot of spine and tips. Original black-and-white photo-illustrated dust-jacket, text printed in black, lightly rubbed. Very good in a near-fine

40 p



First edition. A Day Off / An English Journal was

Filmgegner von Heute — Filmfreunde von Morgen

published after Tony Ray-Jones’ death in 1972. It is

[Enemy of Film Today — Friend of Film Tomorrow].

a part-finished study in which he attempts to show a

Berlin: Verlag Hermann Reckendorf, 1929.

broad range of the English social classes and how they


spend their leisure time, be it at Glyndebourne and Eton or Butlins and the seaside towns of Blackpool and

Large 8vo (252 × 189 mm), pp.125, [1] blank, [1]

Brighton. ‘I want my pictures to bite like the images

announcement, [1] blank. Numerous reproductions of

in Buñuel’s films which disturb you while making you

black-and-white photographs and film strips. Original

think. I want them to have poignancy and sharpness

red cloth, spine and upper side lettered in blue; foxing

but with humour on top… My aim is to communicate

to first and last pages. Original black-and-white photo-

something of the spirit and the mentality of the English,

illustrated dust-jacket, printed in black; head and foot of

their habits and their way of life, the ironies that exist

spine and flap folds chipped and strengthened with tape

in the way they do things, partly through tradition

to verso, creasing to top and bottom edges. Fine in a very

and partly through the nature of their environment

good dust-jacket.

and mentality.’ Open Book 302–3; Auer 583 (French Issue).

First edition. Richter was a central figure in European and American experimental film. In this important study he reproduces photographs, stills and filmstrips from avant-garde films including Dziga Vertov’s Man with a Movie Camera, Carl Theodor Dreyer’s Le Passion de Jean D’Arc and Fernand Léger and Dudley Murphy’s Ballet Mecanique, as well as his

own work. He also criticizes German and American commercial cinema for its over-reliance on star actors, excessive costumes and sets. This book was conceived in collaboration with Werner Gräff as a companion volume to his Es kommt der neue fotograf! (1929), with

f (cover) 39 RESNICK , Marcia.

both being issued to coincide with the Film und Foto


Stuttgart. Richter was in charge of the film program that

Toronto: The Coach House Press, 1978.

ran alongside this important exhibition.


exhibition organized by the Deutsche Werkbund in

Regards (32); Fotografia Publica (480, 594); Open Book 80–1.

f 40 p

wrappers, text printed in blue and black; upper side has a short closed tear at foot, shallow crease to corner and a small indentation to the fore-edge. Robbe-Grillet’s presentation inscription to half-title. Near-fine. First edition, association copy inscribed by RobbeGrillet to Dominique Aury, author of the notorious

Histoire d’O. ‘Toujours des murs, toujours des couloirs, toujours des portes ...’; illusion and reality, memory 41

and desire blur in Robbe-Grillet’s script, which Alain


Resnais turned into a cinematic masterpiece. The ciné-

Beyrouth [Beirut].

roman or ‘cine-novel’ was popular amongst French

Paris: Editions F. Hazan, 1984.

New Wave filmmakers as a way of re-presenting and


expanding their films. Robbe-Grillet describes the form as being ‘a detailed analysis of an audio-visual whole

8vo (211 × 141 mm), pp.67, [3] blank, [1] imprint, [1] blank.

that is too complex and rapid to be studied very easily

31 black-and-white photographs. Original black-and-

during the actual projection. But the ciné-novel can also

white photo-illustrated wrappers, text printed in black

be read by someone who has not seen the film, in the

to spine and upper side; spotting to top edge. Original

same way as a musical score.’

glassine dust-jacket, text printed in black and illustrated with a black-and-white photograph to upper panel; light handling marks, spine lightly toned, head of spine rubbed, short closed tear to upper and lower panels at head of spine. Near-fine. First edition. Much of Ristelhueber’s work is concerned with depicting traces of conflict within cities scarred by war. In 1982 she traveled to Beirut where she photographed the damage that was being inflicted as a consequence of the Lebanese Civil War. In her photographs what remains is often at first indistinguishable from the archaeological sites that are also dotted throughout the city. She reiterates this by

f 43

ending the sequence with a photograph of the Temple

SCHÄFER , Rudolf.

of Jupiter in Baalbeck.

Der Ewige Schlaf / visages de morts [The Endless Sleep /

Auer 654.

Faces of the Dead]. Hamburg: Kellner, 1989. £500

Large 4to (340 × 241 mm), pp.[48]. 13 black-and-white photographs, essay by Jean Cocteau, transcript of an interview between Schäfer and Gerhard Bott, design by Walter Landmann. Original red paper-covered boards, spine and upper side lettered in black, reproduction of a black-and-white photograph affixed to upper side. No 42

f 43 p


dust-jacket as issued. Fine. First edition. These photographs are all taken

L’Année Dernière a Marienbad. Ciné-roman illustré

from above and each shows a dead person with the

de 48 photographies extraites du film réalisé par Alain

sheet pulled from their face, giving the impression that


they are sleeping. Schäfer’s portraits draw immediate

Paris: Editions de Minuit, 1961.

comparisons with Dr Hans Killian’s photographs of the


sick and dying in Facies Dolorosa (1934), although whilst Killian’s work was originally intended to be used for

8vo (190 × 140 mm), pp.172, [2] blank, [1] imprint,

diagnostic purposes, Schäfer’s photographs were taken

12 leaves of plates reproducing 48 black-and-white

with deliberately artistic intentions.

photographs. Uncut, largely unopened. Original white

Parr and Badger ii 270.

drastically reduced thanks to the efforts of the Junta Central del Tesoro Artistico, an organization that attempted to safeguard items from Madrid’s museums and libraries by moving them away from the fighting and possible damage. At first items were moved to Valencia, then to Catalonia and with the aid of the League of Nations to France and Switzerland. Many works, by Goya, El Greco, Velasquez and Titian among others, were saved. 44 p


Capa , Robert, Taro, Gerda et al.

From the library of Mariano Rodriguez de Rivas, director of the Museo Romantico de Madrid. Auer 247.

Madrid. Barcelona: Industries Grafiques Seix I Barral, Feb 1937. £1,500

4to (293 × 234 mm), pp.[96] on two different paper stocks. 97 black-and-white photographs, 4 black-and-white and colour photomontages, text in Catalan, Spanish, French, and English. Bound in cream and red cloth, spine lettered and ruled in gilt. Original colour photomontageillustrated wrappers bound in. Bookplate of Mariano Rodriguez de Rivas to front pastedown.

45 p

SUDEK , Josef. Pražský kalendář / Kulturní ztráty Prahy [The


Cultural Losses of Prague] 1939–1945.

La Biblioteca Nacional de Madrid Bombardeada.

Prague: Nakladatelství Václava Poláčka.

Valencia: Junta Central del Tesoro Artistico Valencia


[Council of Art Treasures in Valencia, c.1936–7].

8vo (209 × 147 mm), pp.[ii] black-and-white photoPamphlet (185 × 130 mm), pp.[16]. 7 black-and-white

illustrated cover, text printed in black and red, verso

photographs, text printed in black within a red border.

blank, [110], [1] imprint, [1] blank. 52 black-and-white photographs, introduction by Zděnek Wirth. Spiral-

[And:] Two folded broadsheets issued by the Fifth Regiment

c.1936–7, illustrated with black-and-white photographs,

bound. Two tabs broken, pages lightly toned. Near-fine. First edition. This calendar is illustrated with

the first (322 × 726 mm) bound in concerns the Fascist

Sudek’s photographs of war damage to Prague’s

bombing of Madrid’s Museo del Prado on 16 November

buildings and monuments. Although Prague was largely

1936, the second (616 × 855 mm) laid in details civilian

spared during the Second World War it did suffer some

casualties as a result of a bombing raid on a poor area far

considerable damage. Sudek’s photographs of fallen

from the front on the outskirts of Madrid on 16 December.

monuments are particularly evocative. Rare.

First edition with related ephemera, including publications relating to the bombing of the National Library and the Museo del Prado. Madrid portrays the destruction wrought on the city and its people and follows the subsequent exodus from Madrid to Catalonia. The final section, comprising photographs of shell damage and human casualties, is entitled ‘Barcelona also’. It ends with a large red question mark. General Franco’s army reached the outskirts of

46 p

Madrid on 6 November 1936 and by 16 November 16

TILLMANN , (Ulrich) and VOLLMER , (Wolfgang).

the first intensive aerial bombardment of a European

Meisterwerke der Fotokunst / Masterpieces of

capital had turned Madrid into an inferno. Many

Photographic Art.

buildings including the National Library and the Prado

Cologne: Edition Wienand, 1985.

Museum were targeted. Damage to works of art was


f 44 p

8vo (210 × 142 mm), pp.104. 42 black-and-white and

little leisure time they have, including a sequence

2 colour photographs, text by ABC Gruber, Friedrich

towards the end which shows some of the men visiting

Heubach and L Fritz Gruber in German and English.

a brothel next door which was for the use of non-

Original red cloth, spine and upper side lettered in gilt,

Germans only. There is a clear understanding between

gilt boxing gloves device to lower side, reproduction of

these men and women, both trying to exist in a world

a black-and-white photograph affixed to upper side.

of spiritual emptiness. ‘Apparently the Gestapo found

Original red cloth slipcase. Signed and numbered in black

the images, but (clearly misunderstanding their

ink by the artists below a tipped-in glassine bag holding

potency as pictures) allowed him to keep them as

what is purported to be an original fragment of Klaus

“souvenirs”. The resulting book, distilled from around

Peter Schnuettger-Webs’ plate camera after it was thrown

200 negatives, is notable not simply for its historical

from a window at the Bauhaus in Dessau following an

value but also for Tmej’s ability to make formally

argument with Herbert Bayer in 1925. Fine.

elegant images that are invested with a poetic weight

First edition, number 618 of 1000 signed copies.

that is quite remarkable (Parr).’

The photographs reproduced here are slightly altered

Roth 124–5, Parr and Badger i 198–9; Open Book 144–5.

subtle quotations of photographs by artists such as August Sander, Edward Weston, Man Ray, Robert Mapplethorpe and others whose photographs are widely considered to be masterworks of the medium. This is a smart, respectful deconstruction of the photography art market, the masterpiece and the master print. Parr and Badger ii 162–3. 48

VALLAURIS , Georges. Orgies / avec 130 photos / Prises sur le vif / Les poses les plus suggestives [Taken from Life / The Most Suggestive Poses]. Paris: Les Éditions du vert-logis, [1936]. £350

8vo (224 x 152 mm), pp.320. 130 black-and-white

f 45 p


photographs. Original wrappers, text printed in red and

TMEJ , Zdenek.

black, illustrated with a black-and-white photograph to

Abeceda Dusevniho Prazdna [Alphabet of Spiritual

upper panel; one gathering loose, spine rolled and creased,


lightly soiled, edges rubbed, small chip to upper panel at

Prague: Nakladatelství Zádruha, 1946.

head of spine.


First edition, from the library of Alessandro Bertolotti. ‘In the 1930s, the photographer of nudes

4to (239 × 210 mm), pp.[162]. 45 black-and-white

was always wavering between the attempt to be

photographs printed in gravure, text by Alexandra

artistically innovative and a traditional style that would

Urbanova. Original brown card wrappers; light damp-

be easily understood by everyone. At this time there

staining to and around spine, pages uniformly toned

were numerous publications with enticing titles and

due to quality of paper stock. Original black-and-

ambiguous covers, which arrived by post or were sold

white photo-illustrated dust-jacket, text to spine and

under the counter, and often — especially in France

lower side printed in black; paper stock lightly toned,

and Germany — juxtaposed different styles and highly

damp-stain to and around spine, closed tears and some

varied compositions by the same photographer…

loss to top edges.

Orgies, for example… contained an extraordinary series

First edition in the rare fragile dust-jacket. In the

of pictorialist, Surrealist, and modernist photographs

Autumn of 1942 Zdenek Tmej was sent to a Nazi-run

by Brassaï, Pierre Boucher, Laure Albin-Guillot,

forced labour camp for unmarried Czech workers in

Germaine Krull, and Frantisek Drtikol, alongside other

Breslau, Germany. He took with him two cameras

pictures that were simply erotic, with no pretensions to

and was able to acquire film and other supplies. His

artistic merit (Bertolotti).

photographs show these men and how they pass what

Bertolotti 69.

First edition. Le Livre Noir was published after


the Trial of the Major War Criminals at Nuremberg. It

Rare Books, Art & Photography

presents the key defendants in the court-room, as well

Auer, M. and M., 802 Photo Books, Hermance 2007.

as photographs representing some of their crimes and

Badger, G., Berlin in the Time of the Wall: An Exhibition About a Book

pictures from inside the prison.


and its Photographs, Chicago 2004.

26 Brook Street London W1K 5DQ

Bertolotti, A., Books of Nudes, New York 2007. Butler, S., ‘Landscapes in Transition’, Creative Camera, November 1985, pp.16–23.

Telephone +44 (0) 207 499 0974 Fax +44 (0) 207 499 0799


Campany, D., Photography and Cinema, London 2008.


Chapnick, H., Truth Needs No Ally: Inside Photojournalism, Columbia

Wem gehört die Zukunft? / Sozialismus gegen


Plutokratie [To whom does the future belong? /

Dutch Eyes: A Critical History of Photography in the Netherlands,

Socialism against Plutocracy].

ed. F. Bool et al., Amsterdam 2007.

Berlin and Leipzig: Niebelungen Verlag, 1940.

Directors: Simon Finch, Oliver Wood VAT number: GB 867 8126 81

Fotografia Pública: Photography in Print 1919–1939, ed.


H. Fernandéz, Madrid 1999. Goldblatt, D., Fifty-one Years, Barcelona 2001.


Kaneko, R. and Vartanian, I., Japanese Photobooks of the 1960s and

Copyright © 2009, Woodfinch

8vo (225 × 157 mm), pp.93, [1] blank, [1] credits, [1] blank.


106 black-and-white photographs, 1 reproduction of an

YOSHIOKA , Yasuhiro.

advertisement, 1 page with reproductions of job adverts.

Yoshioka Yasuhiro Sakuhinshu.

Malcolm, J., Diana & Nikon, New York 1997.

All rights reserved. No part of this publication

Original wrappers illustrated with a black-and-white

[Tokyo: self-published], 1963.

Marien, M. W., Photography: A Cultural History, London 2006.

may be reproduced or transmitted in any form or

photo-montage, printed in black and yellow; light wear to


Open Book, ed. A. Roth et al., Gothenburg 2004.

by any means, electronic or mechanical, including

Parr, M. and Badger, G., The Photobook: A History, 2 vols, London

photocopy, recording or any other information

edges, lightly toned, spotting to lower panel. First edition. This propaganda book juxtaposes

Square 8vo (235 × 223 mm), pp.[84] and 1 gatefold leaf

‘70s, New York 2009.


retrieval system, without prior permission in

photographs of life in Germany with life in England.

perforated at spine. 57 black-and-white photographs,

Photography Between Covers, ed. M. Boom., Amsterdam 1989.

It shows German citizens leading healthy, happy, self-

introduction by Yusuke Nakahara in Japanese, English

Robbe-Grillet, Alain., The Immortal One, trans. A. M. Sheridan Smith,

sufficient modern lives, in contrast to a British society

and French, design by H. Narasaki. Light offsetting to

that is out-dated, frivolous and divided by class.

endpapers. Original black cloth, spine and upper side

Roth, A., The Book of 101 Books, New York 2001.

Design: Bev Weaner

blocked in white. Original acetate dust-jacket; nick

Regards sur un siècle de photographie à travers le livre, A. Sinibaldi,

Print: Beacon Press

at head of spine, small chip to top corners. Yoshioka’s signature to front free endpaper. Original card folding case, red paper label, printed in black to spine and upper side; lightly worn, toned with some scattered

London 1971.

writing from Woodfinch. Cataloguing: Oliver Wood

Paris 1996. Taylor, B, ‘Montage Over Britain’, Aspects of our National Heritage exhibition catalogue, Winchester 1999.

With thanks to: Crofton Black, Jacob Blandy, Ben Houston, Oscar Humphries, Hermione Pakenham, Agnieszka Wood, and Rado.

spotting. Fine with a near-fine dust-jacket in a very good folding case. First edition, signed copy. Yoshioka’s first book presents three series of nude photographs in which he divides body parts into abstract forms, isolated and indistinguishable from each other. In 1958 Yoshioka 50

graduated from the engineering department at Waseda

[WORLD WAR II]. VIKAR , Georges (ed).

University. Ivan Vartanian writes that his ‘treatment

Le Livre Noir / 100 documents prodigieux sur le

of the nude breaks with the traditional preoccupations

plus grand procès de l’histoire [The Black Book / 100

of beauty and form; this work is more of a dissertation,

Extraordinary Documents from the Greatest Trial

recasting the idea of the body within mechanical

in History].

terms. (Kaneko). Reproduced on the perforated gatefold

Paris: Editions Bateau Ivre, 1946.

leaf are a series of close-ups showing female genitalia


which Yoshioka had submitted to the 1962 Yomiuri Independent, an annual exhibition held at the Tokyo

4to (270 × 170 mm), pp.[60]. Illustrated throughout with

Museum of Modern Art. These photographs were

black-and-white photographs. Pages toned. Original

charged as being obscene and were removed from the

stapled wrappers illustrated with a black-and-white

exhibition the day after it opened. The perforated leaf

photo-montage, printed in black; toned, chips to head and

allows for the offensive work to be easily removed, as

foot of spine, loosening around staples, chip to lower side

the sale of such obscene material was still a criminal

at fore-edges rubbed with occasional nicks. Distributor’s

offence in Japan, and would remain so until the 1990s.

sticker to lower side.

Kaneko 72–5.

Prices subject to VAT where applicable.

f 46 p

Woodfinch Oliver wood / Simon FINCH

Photo3 Simon Finch catalog rare photobooks  

Photo3 Simon Finch catalog rare photobooks

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