{"title":"57th California International Antiquarian Book Fair 2026","description":"\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eShapero Rare Books presents a selection of rare books, manuscripts, photography, and works on paper at the 57th California International Antiquarian Book Fair, held February 27 through March 1, 2026 at Pier 27, San Francisco.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThe 104-item catalogue spans travel and exploration, modern first editions, natural history, photography, Russian avant-garde, science, literature, and illustrated works. Notable offerings include Robert Frank's \u003cem\u003eLes Américains\u003c\/em\u003e (1958), John Thomson's \u003cem\u003eStreet Life in London\u003c\/em\u003e (1877-78), first editions by Darwin and Huxley, Kurt Schwitters' signed \u003cem\u003eCamp Almanac\u003c\/em\u003e(1940), and the Lebedev Constructivist ABC (1925).\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eVisit Stand N226, Level 2 during fair hours to view the complete selection with Bernard Shapero, Laura Massey and Oliver Wood.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\u003ca href=\"https:\/\/link.eu.inky.net\/link?domain=cdn.shopify.com\u0026amp;t=h.eJxNjs1uwjAQhF8F-VyyOKRem1NPPSP1ASL_rBUXiKPdcECo705CW4nb6BtpvrmrK5_VYaOGeZ7kABDT2MhQp5JvTawXEMjlTAIadrjfQ2dcB7pd0i8-Vpmj5yR95nrpv_zYf7IfY5FYmyll9bZRp3VfBj8R1y17plDrSSAOxbP_-CueMusMGZ1CMMGF7NBFT7qNaJMluzPvoBG16xBb2yC65YddBbQKvilnptvr3tqlF_k_KwvTPw8aKE6N.MEUCIQDq7TZB_Qp2VkxxlKFC7LydNXHP30LzWsFf_aZ4pnW8rAIgF1PmLaiZNXw95n8JWMahTgLijbWOlpWZHcUW9eI7IwE\"\u003eDownload the catalogue here\u003c\/a\u003e\u003c\/p\u003e","products":[{"product_id":"audebert-histoire-naturell-singes-makis-large-paper-1800-bozerian-binding-90035","title":"Histoire naturelle des singes et des makis.","description":"\u003ch4 class=\"srb-faux-head\"\u003ewith monkey tools by Bozerian\u003c\/h4\u003eA fine fresh large paper copy in a handsome contemporary binding by Bozerian, of the earliest illustrated monograph on monkeys and Audebert's first original work. \u003cbr\u003e\u003cbr\u003ePublished in 10 parts, the first two in February and July 1798, the remainder between January and October 1799. Audebert (1759-1800), was born at Rochefort. He studied painting and drawing at Paris. The present monograph, which divided the monkeys into six families, was the more impressive for employing a colour-printing process in which all the colours were printed from one plate and oil paint was substituted for gouache. In developing this new technique, his experience as a distinguished miniature painter was probably important. His interest turned to natural history after a meeting in 1789 with Gigot-d'Orex, a rich amateur collector of specimens. When Audebert died at the young age of 41, his reputation as an artist-naturalist was assured both by the present work and the later Oiseaux dorés (Paris, 1800-1802).\u003cbr\u003e\u003cbr\u003eJean-Claude Bozérian (17962-1840) along with his younger brother, François, were the leading binders of their age, working for Napoleon during the First Empire. At the 1801 Paris Exhibition, Jean-Claude won the bookbinding medal.\u003cbr\u003e\u003cbr\u003eFirst edition; 2 vols in one, folio (52 x 34.5 cm). 63 copper engraved plates, including 61 printed in colour and finished by hand, contemporary veau blond gilt by Bozerian (signed at foot of spine), flat spine with monkey tools in compartments, all edges gilt, a fine copy.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eBrunet I, 550; Nissen ZVB, 156; Wood, p. 206.\u003c\/i\u003e","brand":"AUDEBERT, Jean Baptiste.","offers":[{"title":"Default Title","offer_id":45547009245489,"sku":"90035","price":15000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/90035_06496581-259c-4e8c-8d95-8746bf36ebe5.jpg?v=1775940712"},{"product_id":"jack-smith-beautiful-book-1962-110662","title":"The Beautiful Book.","description":"\u003ch4 class=\"srb-faux-head\"\u003ewith 20 as opposed to the usual 19 photographs\u003c\/h4\u003eJack Smith is a key figure in the cultural history of Downtown New York; his influence is foundational in the history of experimental film, queer cinema, and performance art, helping transform the artistic landscape of New York. This copy of The Beautiful Book includes an additional image, meaning it contains 20 gelatin silver photographs instead of the usual 19 (18 photographs by Smith and one portrait of Smith by Ken Jacobs). Except for the additional photograph, the sequence of the images remains consistent with other copies but with one print orientated differently.\u003cbr\u003e\u003cbr\u003eThe Beautiful Book was produced in an intended but unrealised edition of 200 copies. Jack Smith, Piero Heliczer, and their associates assembled the books during the late spring and early summer of 1962 before shooting began on Smith's film Flaming Creatures (1963), one of the most notorious underground films of the 1960s, which became a test case of censorship laws. The Beautiful Book contains photographs taken during an extended series of photo sessions at his Lower East Side apartment between 1961 and 1962. Smith planned to give them to Jonas Mekas's Film Culture magazine as a series titled '16 Immortal Photographs'. However, Film Culture declined to publish the work, so he produced The Beautiful Book with Piero Heliczer's The Dead Language Press instead.\u003cbr\u003e\u003cbr\u003eFirst edition, one of a planned edition of 200 copies; 4to (225 x 190 mm, 8 3⁄4 x 7½ in); 20 gelatin silver contact photographs (55 x 55 mm, 2¼ x 2¼ in) mounted on yellow pages, minor occasional mirroring; wire-stitched card covers printed in black and yellow after a design by Marian Zazeela, slight crease to foot of spine, stray ink marks to inside covers with minor offsetting to first and last pages, bottom wire pulling at spine, near-fine; [20pp].\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFlaming Creature p77; The Open Book pp190-1.\u003c\/i\u003e","brand":"SMITH, Jack.","offers":[{"title":"Default Title","offer_id":48424295858481,"sku":"110662","price":20000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/110662_6866abca-fe13-4dc7-900b-f440baafb3de.jpg?v=1777150707"},{"product_id":"broomberg-and-chanarin-war-primer-2-2-011-110758","title":"War Primer 2.","description":"\u003ch4 class=\"srb-faux-head\"\u003eone of 100 copies signed by both artists\u003c\/h4\u003eGerman poet and dramatist Bertold Brecht's Kriegsfibel [War Primer] was first published in 1955. Brecht's mistrust of the press imagery emerging from the Second World War led him to compose four-line poems, which he juxtaposed with photographs sourced from newspapers and magazines, many of which were from LIFE magazine as Brecht was living in the United States in exile from Nazi Germany. Broomberg \u0026amp; Chanarin, concerned with the proliferation of imagery relating to the 'War on Terror' that began with 9\/11, have taken copies of the 1998 first English edition of Brecht's War Primer as the starting point for this revised version. Keeping the original captions intact, they have partially overlaid the original photographs selected by Brecht with contemporary imagery from both sides of the recent conflict drawn from online sources. The URL for each image is provided with a caption in a new set of notes, screenprinted over the originals. Broomberg \u0026amp; Chanarin were awarded the 2013 Deutsche Börse Photography Prize for this work.\u003cbr\u003e\u003cbr\u003eFirst edition, an altered artists' book, number 68 of 100 copies signed by both artists on the front free endpaper; 4to (294 x 243 mm, 11½ x 9½ in); 85 black-and-white photographs printed in offset, each with a new photographic reproduction partially pasted over it by hand, the final image with a screen printed red square, new notes screen printed in red over the original text section; plain endpapers, grey cloth-covered boards, original titles stamped on spine in silver, new titles screen printed in red on upper side, starting at head, near-fine; [176], xxivpp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eThe Photobook: A History III, p285.\u003c\/i\u003e","brand":"BROOMBERG, Adam \u0026 CHANARIN, Oliver; BRECHT, Bertolt.","offers":[{"title":"Default Title","offer_id":48424296317233,"sku":"110758","price":7500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/110758_cd116e19-047f-4afc-9347-6ac4d95a39ae.jpg?v=1775857172"},{"product_id":"lewis-hine-men-at-work-presentation-copy-1932-111371","title":"Men at Work.","description":"\u003ch4 class=\"srb-faux-head\"\u003eimportant association copy\u003c\/h4\u003eAn important presentation copy in a remarkable example of the rare dust-jacket, inscribed: 'To Owen R. Lovejoy \/ for his never-failing appreciation \/ of our work, – many of the results \/ being the direct outgrowth of his \/ suggestions and optimistic criticism. \/ May his vision never grow dim.' Owen R. Lovejoy was a vehement opposer of child labour. He served as the general secretary of the National Child Labor Committee from 1907 to 1926, where Lewis Hine was a staff photographer and art director of their magazine 'Charities and Commons (later 'The Survey') between 1908 and 1917.\u003cbr\u003e\u003cbr\u003eMen at Work contains photographs made between 1920 and 1931, issued amid the worst employment crisis the United States had ever known. Hine saw it as a way of reaching out to schoolchildren, providing them with constructive role models and emphasising the human element of industry, with photographs of railroad employees, coal miners, aeroplane assemblers, steelworkers, and others. Among the most striking photographs are Hine's images of the construction of the Empire State Building, which Empire State, Incorporated, had used widely for publicity purposes.\u003cbr\u003e\u003cbr\u003eHine always insisted on exerting control over the layout of his photographs, regularly requesting to see magazine proofs before publication. It is probably for this reason that he was not selected to work for the Farm Security Administration during the 1930s, with Roy Stryker, head of the Historical Division of the FSA, expressing concern that Hine may be difficult to employ and that it would be impossible to make the type of arrangements that he would have found satisfactory. Men at Work is the only book of Hine's photographs published in his lifetime.\u003cbr\u003e\u003cbr\u003eFirst edition, presentation copy inscribed on the front free endpaper; 4to (253 x 203 mm, 10 x 8 in); black \u0026amp; white photographs printed in gravure; minor foxing to endpapers, green cloth-covered boards, titles to upper side in black, mottling to boards along fore-edge, photo-illustrated dust-jacket, minor wear to edges, minor foxing to verso, price-clipped for presentation, a near-fine copy in a remarkable example of the rare dust-jacket; [48]pp. [With:] LOVEJOY, Owen R. The Negro Children of New York. New York, The Children's Aid Society, 1932.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eThe Photobook: A History I, p126; The Open Book pp108–9; Auer Collection p187.\u003c\/i\u003e","brand":"HINE, Lewis W[ickes].","offers":[{"title":"Default Title","offer_id":48424303493425,"sku":"111371","price":15000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111371_15922a98-435e-4edd-be98-caf698218d8b.jpg?v=1775862419"},{"product_id":"araki-nobuyoshi-sentimental-journey-presentation-copy-1971-111533","title":"Senchimentaru na Tabi [Sentimental Journey].","description":"\u003ch4 class=\"srb-faux-head\"\u003einscribed with a drawing\u003c\/h4\u003eAn early presentation copy of Araki Nobuyoshi's most important work, inscribed to Asahi Sonorama Chief Editor Tatsuo Shira with a drawing of a three-trunked elephant, which was Araki's preferred method of embellishment in the 1970s.\u003cbr\u003e\u003cbr\u003eSentimental Journey is Araki's signature work, comprising photographs made while on honeymoon with his wife Yoko in Yanagawa on Japan's Kyushu island. Araki's exposure of this most intimate of occasions attracted much criticism in a country which still valued a strict code of behaviour, but ultimately, by putting his private life forward for public scrutiny, he paved the way for successive generations of Japanese photographers to work in a similar vein.\u003cbr\u003e\u003cbr\u003eInitially, Araki had intended for Sentimental Journey to contain no text. However, after publication and at the request of the bookshop Kinokuniya, he wrote a short introduction that rejects the falseness and insincerity of much photography and compares his work to the popular post-war literary form of the 'I' novel. This text was printed on a green leaf of paper and laid into the book.\u003cbr\u003e\u003cbr\u003eFirst edition, presentation copy inscribed by Araki on the upper wrapper with a drawing, his address on the lower side crossed out; 4to (238 x 238 mm, 9¼ x 9¼ in); black-and-white photographs printed in offset; wire-stitched with white photo-illustrated card wrappers, printed in black, light rubbing and soiling, minor foxing to sides and edges, a near-fine copy with the printed leaf of green paper added by Araki shortly after publication at a bookshop's request; [108]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eProvoke pp11-12; The Book of 101 Books pp206-7; The Photobook: A History I, p295; The Open Book pp268-9; Auer Collection p527; Self Life Death p694; A Book of Araki Books pp38- 45; Japanese Photobooks of the 1960s and '70s pp108-115; The Japanese Photobook 321.\u003c\/i\u003e","brand":"ARAKI, Nobuyoshi.","offers":[{"title":"Default Title","offer_id":48424305295665,"sku":"111533","price":8750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111533.jpg?v=1775856036"},{"product_id":"klimt-lucian-samosata-115777","title":"Lucian of Samosata. De Hetaerensgespraeche des Lukian.","description":"\u003ch4 class=\"srb-faux-head\"\u003eone of 50 copies\u003c\/h4\u003eA fine example of a scarce and early work illustrated by Gustav Klimt. Published in 1907, this erotic compilation represents a perfect pairing of Klimt's drawings with Josef Hoffmann's Wiener Werkstätte design to create one of European Jugendstil's most beautiful books. \u003cbr\u003e\u003cbr\u003eThe text for the work is Lucian's Dialogues of the Courtesan (De Hetaerensgespraeche des Lukian), translated here by the Viennese writer, Franz Blei. The fifteen conversations from the Hellenic satirist cover themes of seduction, infidelity and jealousy and previous German translations omitted the fifth conversation as it is homoerotic. In this translation, Blei changed the order of the dialogues and gave them more provocative titles, such as 'The Horrors of Marriage', 'The Voluptuousness of Spanking', as well as including the lesbian conversation (number VI). \u003cbr\u003e\u003cbr\u003eKlimt's drawings are considered to be the 'epitome of erotic refinements' (Bisanz-Prakken). The fifteen compositions were created by Klimt in the period from 1904 to 1906. Two-thirds of the drawings can be dated to 1904. This is important in that Klimt switched from wrapping paper sheets to lighter Japanese paper this year, as he replaced the soft chalk with the hard pencil. Gustav Klimt created some of the works in the context of the first version of Water Snakes II (1904–1907): While Klimt contented himself in the painting with the hint of eroticism, he went far beyond the taboo limit of his time in the preparatory studies and drawings. \u003cbr\u003e\u003cbr\u003eJulius Zeitler in Leipzig was responsible for the publishing of the book and Obernetter in Munich, a pioneer and specialist in collotype printing was entrusted with the plates. The same high standards were applied to the bindings of the 450 numbered copies. Josef Hoffmann designed the sample bindings for the two de-luxe editions, which were produced by the Wiener Werkstatte. Edition A, the smallest edition (of which this book is part of) consisted of only 50 copies which were produced on Japon paper and were bound in marbled black and white cloth with corresponding endpapers. Edition B comprised of 100 copies bound in grey chamois leather. Both editions A and B have a gold embossed plate on the upper cover and Hoffman's monogram and the company's logo on the reverse. \u003cbr\u003e\u003cbr\u003eCopies of the book went to some of the most important collectors, patrons and cultural figures of the time. Hermann Bahr received a copy and subsequently wrote in a letter to Frane Blei:\u003cbr\u003e\u003cbr\u003e'I drink to Klimt, the bright pagan. Those know-it-alls out there believe he merely plays with lines. Poor fools, they don't recognise the indescribable power of this lewdness swearing to be sacred. He is the only one for whom burgeoning nature is not obscured by bourgeois shame; the only one looking at thing's from a pagan's perspective. The only one for whom the woman is woman all over.'\u003cbr\u003e\u003cbr\u003eLimited edition, number 40 of 50 copies on Japon, from a total edition of 450, large 4to; text printed in black and gold, translated into German by Franz Blei, illustrated with 15 photogravures after Klimt, plates protected by tissue guards, very minor staining to a couple of leaves; text printed in black and gold, 15 full-page collotype plates after drawings by Klimt, marbled endpapers, minor wear to margin of one plate; original grey marbled cloth, embossed gilt label to upper cover, gilt stamp to lower cover, covers and spine slightly faded, corners bumped, a very good copy.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"KLIMT, Gustav.","offers":[{"title":"Default Title","offer_id":49028433903921,"sku":"115777","price":30000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/115777_6530bb23-abf6-4eff-9cdd-5235e479f739.jpg?v=1777237244"},{"product_id":"jg-ballard-why-i-want-to-fuck-ronald-reagan-first-edition-signed-112061","title":"Why I Want to Fuck Ronald Reagan.","description":"\u003ch4 class=\"srb-faux-head\"\u003eone of 50 copies - signed by the author\u003c\/h4\u003eOne of 50 signed copies of Ballard's psycho-sexual political satire.\u003cbr\u003e\u003cbr\u003eBallard's prescient short story, written in the guise of a scientific report to satirise the rise of celebrity politicians, was written at a time when Reagan was two years into his first term as Governor of California. Its publication led to an obscenity trial in 1968, but ended up being withdrawn from the trial as the only 3 copies in the shop were in fact sealed in an envelope for sending to a literary agent and not for sale; the rest of the stock was in London at the time. Bill Butler eventually closed the Unicorn Bookshop in 1973 when he moved to Wales, but Unicorn continued publishing there until 1977, the year he died.\u003cbr\u003e\u003cbr\u003eThe limitation states that 50 copies of the edition were signed and numbered by Ballard, but he is known to have signed and randomly numbered copies outside of the limitation. The present copy, being number 11, is within the original signed limitation of 50 copies. Rare thus.\u003cbr\u003e\u003cbr\u003eFirst edition, first printing, number 11 of 50 copies signed by the author, from a total edition of 250; 4to; title page printed in blue, unmarked internally; original wrappers printed in blue and red, stapled as issued, minor soiling and creasing to edges, else very good.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"BALLARD, J.G.","offers":[{"title":"Default Title","offer_id":49180483387697,"sku":"112061","price":3500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/112061_9787d3cb-bf58-4690-b0b6-7f756caa0921.jpg?v=1775861027"},{"product_id":"mccain-adelman-the-right-to-vote-1962-112762","title":"The Right to Vote.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eThe Right to Vote was published by the Congress of Racial Equality (CORE) to encourage voter registration and curtail the suppression of African American voters in the South. It explains the registration process, gives instructions on filling out a registration card, and explains what to do if an application is rejected. CORE was founded in 1942 by an interracial group of Chicago students who pioneered the use of nonviolent direct action in America's civil rights struggle. \u003cbr\u003e\u003cbr\u003eBetween 1962 and 1965, CORE and other groups, including the Student Nonviolent Coordinating Committee (SNCC), launched a concerted effort across the South that succeeded in registering a significant number of new voters. This placed political pressure on hesitant federal government officials to support potent voting rights statutes. The culmination of this pressure was the Voting Rights Act of 1965, a landmark piece of federal legislation in the United States. This act sought to overcome legal barriers at the state and local levels that prevented African Americans from exercising their right to vote, underscoring the importance of this issue.\u003cbr\u003e\u003cbr\u003eFirst edition; 4to (276 x 212 mm, 10¾ x 8¼ in); black-and-white photographs by Bob Adelman, edited by Jim Peck, designed by Jerrold Goodman; wire-stitched, minor handling marks, near-fine; [24]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"McCAIN, James T.; ADELMAN, Bob (photographer).","offers":[{"title":"Default Title","offer_id":49462621634865,"sku":"112762","price":1750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/112762.jpg?v=1775862971"},{"product_id":"charles-darwin-fertilisation-of-orchids-first-issue-1862-113167","title":"On the Various Contrivances by which British and Foreign Orchids are Fertilised by Insects,","description":"\u003ch4 class=\"srb-faux-head\"\u003ethe first volume of supporting evidence for the origin of species\u003c\/h4\u003eFirst edition, first issue, of this important contribution to Darwin's theory of evolution by natural selection. Freeman's variant a with vertically lined cloth and ads dated December, 1861.\u003cbr\u003e\u003cbr\u003eOrchids 'was concerned with working out in detail the relationships between sexual structures of orchids and the insects which fertilise them, their evolution being attributed to natural selection. It is therefore the first of the volumes of supporting evidence. It was much praised by botanists, but sold only about 6,000 copies before the turn of the century' (Freeman, The Works of Charles Darwin, p. 112). Darwin wrote to his publisher John Murray in September, 1861 that, 'I think this little volume will do good to the Origin' (Freeman).\u003cbr\u003e\u003cbr\u003eIn his autobiography, Darwin stated that, though the preparation of Orchids had taken ten months, 'most of the facts had been slowly accumulated during several previous years. During the summer of 1839, and, I believe, during the previous summer, I was led to attend to the cross-fertilisation of flowers by the aid of insects, from having come to the conclusion in my speculations on the origin of species, that crossing played an important part in keeping specific forms constant. I attended to the subject more or less during every subsequent summer... For some years before 1862 I had specially attended to the fertilisation of our British orchids; and it seemed to me the best plan to prepare as complete a treatise on this group of plants as well as I could, rather than to utilise the great mass of matter which I had slowly collected with respect to other plants. My resolve proved a wise one; for since the appearance of my book, a surprising number of papers and separate works on the fertilisation of all kinds of flowers have appeared; and these are far better done than I could possibly have effected'.\u003cbr\u003e\u003cbr\u003eFirst edition, first impression, first issue; 8vo in twelves; folding plate, woodcuts within the text, 32-page publisher's ads dated December, 1861 to rear, Edmonds \u0026amp; Remnants binder's ticket to rear pastedown, bookplate, contents partially unopened, a few stray spots and tiny marks but overall contents clean; housed in a modern slipcase, original plum cloth rebacked with the original spine laid down with some loss from the ends, titles to spine and orchid to upper board gilt, decorative design to boards blocked in blind, coated endpapers, corners restored, some loss of size from cloth, very good condition; 365pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFreeman (The Works of Charles Darwin), 800.\u003c\/i\u003e","brand":"DARWIN, Charles.","offers":[{"title":"Default Title","offer_id":49818941718833,"sku":"113167","price":3250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/113167_8d78df98-9283-4d4f-9d19-dcd3d27c8eb5.jpg?v=1775857495"},{"product_id":"cartier-bresson-europeens-presentation-dust-jacket-112963","title":"Les Européens.","description":"\u003ch4 class=\"srb-faux-head\"\u003ein a presentation dust-jacket\u003c\/h4\u003eOne of a small number of copies issued in a presentation dust-jacket with the printed name of the recipient, this example designated 'à Monsieur Roger Loubry, européen...' Roger Loubry was chief pilot, captain, and co-founder of the airline Union Aéromaritime de Transport (UAT). He made the first commercial air link between Paris and New York in 1946 and two years later was pilot for the first non-stop flight between the two cities.\u003cbr\u003e\u003cbr\u003eLes Européens is identical in format to Cartier-Bresson's first book, Images à la Sauvette (1952). Both were published 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 the present work were taken between 1950-5 and show ordinary people going about life in post-war Europe. In his introduction Cartier-Bresson sums up his role as a photojournalist simply by saying 'I was there and this is how life appeared to me at that moment.'\u003cbr\u003e\u003cbr\u003eFirst edition; large 4to (359 x 270 mm, 14¼ x 10¾ in); black \u0026amp; white photographs printed in gravure by Draeger, text by Cartier-Bresson, design by Tériade and Marguerite Lang; printed paper-covered boards illustrated after a design by Joan Miro in yellow, blue, red, and black, minor shelfwear, cream dust-jacket printed in grey, lightly rubbed, short tear to upper flap-fold with archival strengthening, fine in a very good example of the scarce dust-jacket; [136]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"CARTIER-BRESSON, Henri.","offers":[{"title":"Default Title","offer_id":53502415372663,"sku":"112963","price":8750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/112963.jpg?v=1775940734"},{"product_id":"albert-renger-patzsch-eisen-und-stahl-inscribed-1931-112957","title":"Eisen und Stahl.","description":"\u003ch4 class=\"srb-faux-head\"\u003epresentation copy in the scarce dust jacket\u003c\/h4\u003ePresentation copy, inscribed: '[...] \/ Essen den 18. Jan. 1935 \/ Albert Renger-Patzsch'.\u003cbr\u003e\u003cbr\u003eEisen und Stahl is an important work in the history of modern photography. It exemplifies Renger-Patzsch's New Objectivity approach and attempts to redefine how industry and technology could be photographed. It was published, in part, to persuade a sceptical public that all was well with the ailing German economy prior to the fall of the Weimar government.\u003cbr\u003e\u003cbr\u003eFirst edition, presentation copy inscribed in black ink on front free endpaper; plain endpapers, silver paper-covered boards, blue cloth spine with titles stamped in white, upper side stamped in black, publisher's photo-illustrated dust-jacket, black, text in white, tears and light creasing to edges, head and foot of spine chipped, a fine copy in a very good example of the exceptionally scarce dust-jacket; [96]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eRegards sur en siècle de photographie à travers le livre 40; The Photobook: A History I, p125; The Open Book: A history of the photographic book from 1878 to the present pp102-103; Auer Collection p175.\u003c\/i\u003e","brand":"RENGER-PATZSCH, Albert.","offers":[{"title":"Default Title","offer_id":53502415405431,"sku":"112957","price":7500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/112957.jpg?v=1776459203"},{"product_id":"byam-exotics-collection-fruits-1797-1800-first-114940","title":"A Collection of Exotics, from the Island of Antigua.","description":"\u003ch4 class=\"srb-faux-head\"\u003eone of the rarest of American floras\u003c\/h4\u003e'One of the rarest of American floras; not listed by Pritzel, Jackson, Dunthorne, Nissen, or Great Flower Books... [with] Mrs Byam's even rarer volume picturing fruits' (Hunt).\u003cbr\u003e\u003cbr\u003eBoth works, Exotics and Fruits, are often bound together and are some of the earliest colour plates of the flora they depict: 'the charming, delicately engraved plates... in some instances antedate the earliest colorplates of these subjects listed by Pritzel and Stapf' (Hunt).\u003cbr\u003e\u003cbr\u003eThe flowering plants depicted in Exotics are: Silk Cotton Tree, Wild Ipecacuan, Flower Fence (Poinciana), Guaiacum, Rocou, Castor, Cut-leaved Lilac, Logwood, Wild Cinnamon, Acacie Bush, Cankerberry, Papaw Tree, Potato Vine, and Coffee Tree.\u003cbr\u003e\u003cbr\u003eThe fruits depicted in Fruits are: West India Sorrel, Cashew, Granadilla, Sea-side Grape, Rose Apple, and Wythe Apple (Dragon fruit). Plates lacking are: Avacado pear, Dates, and Smooth Cerasee.\u003cbr\u003e\u003cbr\u003eLydia Byam (c.1772-1854) was part of the prominent Byam family of Antigua, her father being Privy Seal in the Government of Antigua and her ancestors being sometime Governors of the island. The Byam family largely accrued their wealth and status through the slave-trade, continuing to exploit enslaved people even after the Slave Trade Act of 1807. In 1821, Lydia owned an enslaved woman and had inherited in 1835 a further eighteen slaves purchased by her late father. She and her daughter were subsequently awarded £1,706 (equivalent to £272,000 in today's money) in compensation following the abolishment of slavery in the British Empire.\u003cbr\u003e\u003cbr\u003eThere is debate as to the dedicatée's identity. Hunt and Kraus both believe the 'Viscountess Galway' to be Jane Westenra Monckton, considering both their copies have Monckton family provenance. Yet that doesn't explain the dedication of the second work to 'Princess Elizabeth'. A more likely candidate is Elizabeth Monckton-Arundell, wife of Robert Monckton-Arundell, 4th Viscount Galway, the daughter of Daniel Mathew and Mary Byam, which would explain both a family connection for Lydia to be in her patronage whilst also explaining the Monckton connection.\u003cbr\u003e\u003cbr\u003eFirst editions; 2 works bound in one, folio (47 x 30 cm); 12 hand-coloured aquatint plates of flowering plants, dedication and caption leaves, tissue guards bound in, small marginal tear to plate 7 and 9; [with] 6 (of 9) hand-coloured aquatint plates of fruit, dedication and 2 (of 3) caption leaves, tissue guards bound in, some very light marginal spotting, plates of both works watermarked 1794 and in near-fine condition, armorial bookplate to front pastedown; contemporary half morocco, cloth boards, flat spine lettered in gilt, light wear to extremities.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eBrunet 5288; Hunt 749; Sabin 1697.\u003c\/i\u003e","brand":"BYAM, Lydia.","offers":[{"title":"Default Title","offer_id":54864402350455,"sku":"114940","price":12500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/114940.jpg?v=1777150448"},{"product_id":"yasuhiro-ishimoto-someday-somewhere-signed-first-edition-1958-113519","title":"Aru hi Aru tokoro. Someday, Somewhere.","description":"\u003ch4 class=\"srb-faux-head\"\u003esigned copy of the first major post-war Japanese photobook\u003c\/h4\u003eIshimoto Yasuhiro participated in the first and third The Eyes of Ten exhibition in May 1957 and July 1959. In between, he published this, his first book and the first significant work to emerge from the group. Ishimoto occupies an interesting position in the history of Japanese photography and was another important link between the East and West. Born in San Francisco in 1921, he moved to Japan at age three with his family. After graduating high school, he returned 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 and Aaron Siskind. He graduated in 1952 and returned to Japan the following year, although he continued to travel between the two countries. Someday, Somewhere contains photographs from Chicago and Tokyo, clearly showing the influence of his time studying with Callahan and Siskind.\u003cbr\u003e\u003cbr\u003eFirst edition, signed by Ishimoto in pencil on title-page; 4to (279 x 224 mm, 11 x 8¾ in); colour and black-and-white photographs printed in relief halftone, black-and-white photographs printed in gravure, texts by Watanabe Tsutomu and Ishimoto Yasuhiro in Japanese and English, design by Yamashiro Ryoichi, imprint printed in black on yellow paper with Ishimoto's chop in red ink tipped on to final leaf as issued, occasional minor offsetting; yellow endpapers, navy cloth-covered boards, yellow cloth spine with titles stamped in black, minor wear to corners, colour photo-illustrated dust-jacket printed in black, light wear to edges, minor creasing to lower panel bottom edge, a couple of short tears, one with a tape repair on verso, two pieces of publisher's ephemera laid in, near-fine in a very good dust-jacket, in a custom chemise and slipcase; [168]pp (two of which are folding).\u003cbr\u003e\u003cbr\u003e\u003ci\u003eThe Photobook: A History I, pp272-3; Japanese Photobooks of the 1960s and '70s pp40-5; The Japanese Photobook 1912-1990 184 pp286-7.\u003c\/i\u003e","brand":"ISHIMOTO, Yasuhiro.","offers":[{"title":"Default Title","offer_id":54867451674999,"sku":"113519","price":3250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/113519_1594fca4-6f8c-48ea-9b51-c4d90916cf1f.jpg?v=1775867027"},{"product_id":"lissitzky-iakoponskoe-kino-1929-113546","title":"Vystavka Iaponskoe Kino [Exhibition of Japanese Cinema].","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eA rare and sought-after exhibition catalogue designed by El Lissitzky to accompany the Exhibition of Japanese Cinema that took place in Leningrad and Moscow in the summer of 1929. The event represented an important cross-cultural exchange as the Soviets believed the Japanese film aesthetic could help them create films that could resist western influences. Only a handful of copies are found in institutions and notably absent from MoMA.\u003cbr\u003e\u003cbr\u003eFirst edition; oblong 8vo (14.7 x 21.1 cm); 24 pp. black \u0026amp; white photographs throughout, alternate leaves are 14.2 x 14.7 cm, text by N. Kaufman, D. Arkin, O.D. Kameneva and N.I. Konrad; original photographically illustrated card wrappers in black and yellow, some edge wear to covers and a little creased throughout, small closed tear to upper right of closing pages and lower wrapper, a very good unrestored copy.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"LISSITZKY, El.","offers":[{"title":"Default Title","offer_id":54987717902711,"sku":"113546","price":8500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/113546.jpg?v=1775862478"},{"product_id":"miro-il-etait-une-petite-pie-1928-binding-115074","title":"Il était une petite pie [There was a Little Magpie].","description":"\u003ch4 class=\"srb-faux-head\"\u003efinely bound example by Miguet from the edition de tête\u003c\/h4\u003eMiro's first artist's book. One of 20 copies on Japon with an extra suite in black. \u003cbr\u003e\u003cbr\u003eLise Deharme is widely known for being a Surrealist muse after André Breton referred to her as 'La Dame au Gant' [The Lady with the Glove] in his book Nadja. She was also photographed Man Ray and hosted salons popular with the leading artists and writers of the time such as Joyce and Picasso. Although her legacy mainly remains in the shadow of the prominent male members of the Surrealist movement she was not merely a hostess but a prominent writer and editor of the magazine, Le Phare de Neuilly.\u003cbr\u003e\u003cbr\u003eColette and Jean-Paul Miguet, who were active between 1951 and 1981, were among the most prolific designer bookbinders of the second half of the twentieth century. 'Their productions range from the purest classic to the most modern original creation, without ever falling into the binding-object which for them is a heresy. (...) Boundless advocates of high quality book binding, these two craftsmen argue that the bookbinder must never betray the author in the design of a set, or, possibly, the illustrator, but must define graphics and colours that will interpret them best, and this, in a perfection of execution' (Julien Fléty, Dictionary of French Binders, 1988).\u003cbr\u003e\u003cbr\u003eLimited edition, number 6 of 20 copies on Japon, numbered \u0026amp; signed by the artist and author on the justification, from a total edition of 300, 4to (32.3 x 24.3 cm); illustrated with eight full-page pochoir plates coloured by Saudé, with an extra suite in black; original illustrated cloth portfolio wrapper bound in, black calf by Miguet with cut-outs showing coloured morocco spots of the suede guards inspired by plate V, text in red, blue and green gilt to spine, chemise and slipcase, a fine copy.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"MIRO, Joan; HRITZ [DEHARME], Lise.","offers":[{"title":"Default Title","offer_id":54987719967095,"sku":"115074","price":22500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/115074.jpg?v=1777150871"},{"product_id":"113709","title":"Every Building on the Sunset Strip.","description":"\u003ch4 class=\"srb-faux-head\"\u003ean exceptional copy with the rare original band\u003c\/h4\u003eRuscha's first attempt to photograph the strip on foot failed as parked cars got in the way. He resolved this problem by driving up and down Sunset Boulevard with a motor-driven 35mm camera fixed to his truck, photographing every building between Hollywood and Beverly Hills. The resulting photographs were laid out and joined together. The even-numbered south side runs along the top, the north side along the bottom, with the corresponding numbers printed below each building and names of cross streets. This accurate record of a period of extraordinary growth in Los Angeles is representative of the urban sprawl taking place throughout the United States. Sol Lewitt (writing in Artforum, Summer 1969) highlighted Every Building on Sunset Strip as a key work in his definition of Conceptual Art, a movement driven by ideas before form.\u003cbr\u003e\u003cbr\u003eFirst edition, first issue, with a small extra flap at the end due to a miscalculation by the printer; (176 x 137 mm, 7 x 5½ in), accordion-fold sequence of offset-printed black \u0026amp; white photographs, attached to inside of upper wrapper; white wrappers, spine and upper side printed in silver, publisher's silver mylar-covered board slipcase, with the lightly toned rare original white wraparound band, fine; [52]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eRegards à travers Le Livre 138; Engberg \u0026amp; Phillpot, Edward Ruscha: Editions 1959-1999. Catalogue Raisonne (B4); The Book of 101 Books: Seminal Photographic Books of the Twentieth Century pp182-5; The Open Book: A History of the Photographic Book from 1878 to the Present pp198-9; The Photobook: A History II, pp142-3.\u003c\/i\u003e","brand":"RUSCHA, Ed.","offers":[{"title":"Default Title","offer_id":55051071488375,"sku":"113709","price":6750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/113709.jpg?v=1775854800"},{"product_id":"114282","title":"Postcard from Diane Arbus to Art Director John Gerbino.","description":"\u003ch4 class=\"srb-faux-head\"\u003e'bold lusty outrageous radiant silly'\u003c\/h4\u003e'She was terrific. \/ The best thing is \/ her amazing dynamics \/ she is bold lusty \/ outrageous radiant \/ silly. All sorts of \/ things. Maybe you \/ should run more \/ than one.'\u003cbr\u003e\u003cbr\u003eAutograph postcard from Diane Arbus to art director John Gerbino after Gerbino commissioned Arbus in spring 1971 to photograph Barbara Hackman Franklin and Germaine Greer for features in New Woman magazine. 'Barbara Hackman Franklin, President Nixon's New Woman' ran, but the Germaine Greer photographs were not published.\u003cbr\u003e\u003cbr\u003eDiane Arbus confided to Allan Arbus that Greer 'was fun and is terrific looking but I managed to make [her] otherwise.' According to Arthur Lubow, when the magazine's publisher interviewed Greer 'she recoiled at the feminist's brashness.'\u003cbr\u003e\u003cbr\u003eIn 1964, Barbara Hackman Franklin was one of the first women to earn an MBA from Harvard Business School, one of only 12 women among 680 men in the first graduating class after faculty voted to allow women to study on the campus. After moving to New York, she held positions at the Singer Company and First National City Bank (now Citibank). The absence of professional networking opportunities for women led Franklin and her friend Charlotte Browne-Mayers of Standard Oil Company to organise their own networking group, hosting monthly meetings for former classmates and other working women. In 1971, President Richard Nixon appointed her to lead an effort to recruit and appoint more women for high-level government positions. Altogether, she has served in the administrations of five United States Presidents, and in 2017, Time Magazine named her one of the '50 Women Who Made American Political History'.\u003cbr\u003e\u003cbr\u003eDiane Arbus and John Gerbino began working together in 1964 when he was a designer at Harper's Bazaar. Later, as art director of Essence magazine, Gerbino commissioned Arbus to take photographs for two features: 'How Radical is Black Youth?' published in November 1970 and 'Conversation: Ida Lewis and Rev. Albert B. Cleage, Jr.' published in December 1970.\u003cbr\u003e\u003cbr\u003eAutograph letter signed on an unmailed postcard (139 x 88 mm, 5½ x 3½ in), light wear and creasing at corner, pinholes to top edge recto, mark from tape removal to lower edge.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eDiane Arbus: A Biography; Diane Arbus: Revelations; Diane Arbus: Portrait of a Photographer.\u003c\/i\u003e","brand":"ARBUS, Diane.","offers":[{"title":"Default Title","offer_id":55051071750519,"sku":"114282","price":7500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/114282_56c1203d-bc15-4be4-bbed-4c32ff5a5a3e.jpg?v=1777150277"},{"product_id":"114601","title":"Learning from Las Vegas.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eThis early manifesto of postmodernism was designed by Muriel Cooper (1925-1994), a pioneering graphic designer and one of the first designers to see the potential of computers as tools for inventing new ways to organise visual information. She was the first design director of the MIT Press, cofounder of the Visible Language Workshop at MIT, and the first woman to be granted tenure at MIT's Media Lab, where she taught a new generation of designers. Her work spans print to software interfaces. \u003cbr\u003e\u003cbr\u003eLearning from Las Vegas is compiled from research materials gathered in 1968 by students of a third-year graduate class at Yale School of Architecture, taught by Robert Venturi, Denise Scott Brown, and Steven Izenour. The class Learning from Las Vegas, or Form Analysis as Design Research, required the students to make a nonjudgemental study of the city and how it functioned, and their research was documented through photographs, films, maps, and diagrams. Muriel Cooper was tasked with translating the diverse materials from the studio into a book, initially planning for the book to be protected by a bubble wrap dust-jacket, with fluorescent dots on the boards.\u003cbr\u003e\u003cbr\u003e'The visual materials were not only graphically rich but as content-laden as the text, so the interdependent rhythms of those relationships were important. I wanted to arrange visual and verbal materials spatially in a nonlinear way to enhance the reader's comprehension.'\u003cbr\u003e\u003cbr\u003eRobert Venturi and Denise Scott Brown were unimpressed and enacted a complete, much more traditional redesign for the 1977 paperback second edition, dismissing Cooper's work in their preface. Cooper's reputation and legacy have grown and grown since.\u003cbr\u003e\u003cbr\u003eFirst edition; large 4to (354 x 269 mm, 14 x 10½ in); colour and black \u0026amp; white photographs, diagrams, plans and maps; plain endpapers; dark grey cloth-covered boards, titles stamped in gold on sides and spine, colour photographic reproduction mounted on upper side, publisher's printed glassine dust-jacket, tiny chip to rear flap at fold, nicks to head and foot, errata slip laid in, a fine copy in a remarkably well preserved example of the fragile dust-jacket, housed in a custom black cloth drop spine box.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eReinfurt \u0026amp; Wiesenberger, Muriel Cooper.\u003c\/i\u003e","brand":"VENTURI, Robert; BROWN, Denise Scott; IZENOUR, Steven; COOPER, Muriel (designer).","offers":[{"title":"Default Title","offer_id":55054003241335,"sku":"114601","price":4000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/114601_92d72174-5c2c-4c86-8935-0f6e4b8b451b.jpg?v=1775854863"},{"product_id":"crosby-this-is-tomorrow-whitechapel-gallery-1956-114700","title":"This is Tomorrow.","description":"\u003ch4 class=\"srb-faux-head\"\u003epioneering multi-disciplinary exhibition which radically affected architectural and artistic practice in the 1950s\u003c\/h4\u003eScarce catalogue for the landmark exhibition at the Whitechapel Gallery (9 August - 9 September 1956), which signalled the birth of British Pop Art. 'This is Tomorrow' was organised by architect and writer Theo Crosby, who proposed an exhibition based on a model of collaborative art practice. The 38 participants included architects James Stirling, Alison and Peter Smithson, and Erno Goldfinger; artists Eduardo Paolozzi, Victor Pasmore, Sarah Jackson, Mary Martin, Nigel Henderson, Richard Hamilton and other members of the Independent Group; and architectural critic Reyner Banham formed 12 mixed groups who each worked together towards the production of an installation exploring the 'modern' way of living characterised by mass production, use of novel materials, and the daily maintenance of living space and the built environment.\u003cbr\u003e\u003cbr\u003eThe printed wrapper lists the exhibition's participants and the following statement:\u003cbr\u003e'An exhibition is to take place at the Whitechapel from 9th August to 9th September, 1956 which will result from the direct co-operation of architects, painters, sculptors and others.\u003cbr\u003eThe object of this exhibition is to explore the common ground between art and architecture and to search for that unity of vision and total sense of environment which alone can make further development possible. This exploration is one of ideas. To enlarge the existing art work to an architectural scale is, of course, meaningless.... As a point of departure for further experiment the exhibition should be valuable and controversial, and show a new interpretation of materials and space.'\u003cbr\u003e\u003cbr\u003eSuch an example of collaboration was still unusual at the time but provided a blueprint for a cross-disciplinary collaborative approach in architecture and art; the ripples of influence it created over 60 years ago still resonate today.\u003cbr\u003e\u003cbr\u003eFirst edition, one of 1300 copies; (165 x 165 mm, 6½ x 6½ in); illustrated throughout in black and white, design by Edward Wright slight age-toning to leaves; original spiral-bound printed covers, white and burgundy lettering to upper side, light wear to extremities, with an original kraft paper wrapper printed in black, near-fine; [126]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"[THIS IS TOMORROW.] CROSBY, Theo (editor).","offers":[{"title":"Default Title","offer_id":55060850049399,"sku":"114700","price":2500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/114700.jpg?v=1775857948"},{"product_id":"wakabayashi-nobuyuki-gessoku-lunar-eclipse-first-edition-1972-116406","title":"Gesshoku [Lunar Eclipse].","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eWakabayashi Nobuyuki took these photographs between 1955 and 1961, aged 16 to 22, in red light districts in Yokosuka, Tokyo, Okayama, Nakajima, Maganecho, and Yokohama. Using a discreet small camera, he photographed the hidden lives of the women who work there and the men who visit them, without using the viewfinder, giving a similar feel to the later are, bure, boke work of the Provoke photographers or the amateur imagery published in the many Japanese protest books of the 1960s and '70s. These photographs were the subject of Wakabayashi's first exhibition in 1962 but weren't published until he produced the present book, his third publication following Adam \u0026amp; Eve (1970) and Oh! Girls Jumping Out (1971). It was followed by Children in Shimotsui (1972).\u003cbr\u003e\u003cbr\u003eFirst edition; (257 x 181 mm, 10 x 7¼ in); monochrome offset-printed photographs in black and blue; wire-stitched photo-illustrated wrappers, publisher's red printed wraparound band with text in black, nick at lower fold, a fine copy; [64].\u003cbr\u003e\u003cbr\u003e\u003ci\u003eThe Japanese Photobook 1912-1990 no.38.\u003c\/i\u003e","brand":"WAKABAYASHI, Nobuyuki.","offers":[{"title":"Default Title","offer_id":55060854833527,"sku":"116406","price":2500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/116406.jpg?v=1775866510"},{"product_id":"116436","title":"Collection of Ephemera.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eA collection of 25 pieces of ephemera relating to Araki's books, exhibitions, and audio-visual performances in Tokyo (1970-1996), and an invitation to a banquet of support in the wake of his wife Yoko's death. Including two invitations with gelatin silver photographs, two signed gelatin silver postcards and four related envelopes.\u003cbr\u003e\u003cbr\u003eAraki Nobuyoshi Kitchen Ramen Series 5th installment, Woman – Ikuyo Shoko, Lover - Otsuka WESE. October 3, 1970. [Tokyo], 1970. Exhibition announcement comprising a vintage gelatin silver photograph (102 × 232 mm, 4 x 9¼ in), sheet of photocopied text trimmed to the same size and stapled to the front. \u003cbr\u003e\u003cbr\u003eNobuyoshi Araki's Letter Art 5 Technicolour Paid Photo Exhibition Foreplay, April 28 to May 23. kebukuro Art Theater Coloring Book illustration exhibition at the men's and Women's toilets [Tokyo], [1971]. Exhibition announcement comprising a vintage gelatin silver photograph (102 × 232 mm, 4 x 9¼ in), partially coloured in ink, sheet of photocopied text trimmed to the same size and stapled to the front. \u003cbr\u003e\u003cbr\u003ePoster announcing the launch of the Geribara 5 book Benjo, together with Takase Yoshio's wedding engagement party at Gallery Shop Now, Tokyo. Tokyo, Fukushu-Shudan, Geribara 5, 1971. Poster (371 x 264 mm, 14½ x 10½ in) printed on both sides, folded once.\u003cbr\u003e\u003cbr\u003eSpaceship '72 Free Tatsumi Shiro, Araki Nobuyoshi Exhibition June 21st 1972. Tokyo, 1972. Poster (284 x 387 mm, 11¼ x 15¼ in). \u003cbr\u003e\u003cbr\u003eSuper Photographic Concert. Araki in collaboration with Shoji Sakamoto, Aoyama Tower Hall, Tokyo. July 3-4. Tokyo, [1972]. Flyer (257 x 182 mm, 10 x 7¼ in).\u003cbr\u003e\u003cbr\u003eSuper Photographic Concert. Araki in collaboration with Shoji Sakamoto, Aoyama Tower Hall, Tokyo. July 3-4. Tokyo, [1972]. Ticket (93 x 188mm, 3¾ x 7½ in).\u003cbr\u003e\u003cbr\u003eTokyo: Araki Nobuyoshi Photobook 3 [1973]. Publication announcement card (101 x 149 mm, 4 x 5¾ in) printed in offset. [And:] Pseudo Documentary Silver Halide Exhibition: Voice of a Cicada \/ Kinokuniya Gallery, Tokyo. August 13-14. [Tokyo], [1973]. Flyer (185 x 252 mm, 7¼ x 10 in). Contemporary photocopy on blue paper as issued, folded twice. Both items in the original printed Kinokuniya, envelope slit open along one short edge, addressed to Miyahiko. Miki with Araki's. name written at the bottom left corner. \u003cbr\u003e\u003cbr\u003eHaikyo ni Hana [Flowers in Ruins]. Tokyo, Fukushu-Shudan, Geribara 5 at Shimizu Gallery, [November] 1973. Poster announcing the exhibition (371 x 362 mm, 14½ x 14¼ in) printed recto only, folded twice. \u003cbr\u003e\u003cbr\u003eFlyer offering a set of six original photographs (250 x 300 mm, 9¾ x 11¾ in) in an edition of 50 sets, also mentioning Araki Photobook 3: Tokyo. Tokyo, [Fukushu-Shudan, Geribara 5], [November] 1973. Poster (265 x 190 mm, 10½ x 7½ in) printed recto only, folded twice.\u003cbr\u003e\u003cbr\u003eNotes on Taeko, Seibu Book Center, Tokyo, November 26 - December 9 1976. Tokyo, 1976. Exhibition announcement (198 x 169 mm, 7¾ x 6¾ in) printed in offset.\u003cbr\u003e\u003cbr\u003eTokyo Blues. 28 June - 4 July. Tokyo, Ginza Nikon Salon, 1977. Exhibition announcement (147 x 102 mm, 5¾ x 4 in), addressed in black ink on verso with stamp and postmark, autograph note in pink pen giving details of opening reception, light wear, near-fine.\u003cbr\u003e\u003cbr\u003eHot Wind in July: My Sweet Women; works by Araki and 4 Photographers with Gentle Eyes. Tokyo, Camp, 1978. Exhibition announcement (150 x 98 mm, 6 x 4 in), addressed in black ink on verso with postmark, light wear, near-fine.\u003cbr\u003e\u003cbr\u003eHot Wind in July: My Sweet Women; works by Araki and 4 Photographers with Gentle Eyes. Tokyo, Camp, 1978. Exhibition closing party invitation (149 x 100 mm, 5¾ x 4 in), addressed and with a note in black ink on verso with stamp and postmark, light wear, red mark on recto, near-fine.\u003cbr\u003e\u003cbr\u003eSigned gelatin silver photographic postcard (148 x 100 mm, 5¾ x 4 in), addressed and with a note in black ink on verso with stamp and postmark, signed and dated '85, with a small paint mark on recto, light handling, slight mirroring, near-fine.\u003cbr\u003e\u003cbr\u003eSigned gelatin silver photographic postcard (150 x 100 mm, 6 x 4 in), addressed and with a note in black ink on verso with stamp and postmark, signed and dated '86 in black ink on recto with couloured areas in blue, yellow, magenta, and green, titled 'GA Show', light handling, near-fine.\u003cbr\u003e\u003cbr\u003eArakinema: Tokyo-Story. Friday 26 December. Tokyo, Cinema Rise, [1986]. Announcement card (149 x 100 mm, 5¾ x 4 in), addressed in black ink on verso with stamp and postmark.\u003cbr\u003e\u003cbr\u003eArakinema 2. 26 Feb. Tokyo, Studio Mag, 1987. Announcement card (149 x 100 mm, 6 x 4 in), addressed in black ink on verso with stamp and postmark.\u003cbr\u003e\u003cbr\u003eInvitation to a banquet to support Araki after Yoko's death and to mark the publication of The First Year of Heisei. Sunday 29 April. Tokyo, Japan Publishing Club Hall, [1990]. Bi-fold invitation card (149 x 305 mm, 6 x 12 in), venue card giving location (149 x 100 mm, 6 x 4 in), together in an addressed, stamped and postmarked envelope.\u003cbr\u003e\u003cbr\u003eFaces vs Bodies. 19 January. Tokyo, Spiral Garden, 1996. Exhibition announcement, leaflet folded twice; Complete Works of Araki Nobuyoshi. Tokyo, Heibonsha, 1996. Publication announcement invitation (152 x 203 mm, 6 x 8 in), folding, together in an addressed, stamped and postmarked envelope.\u003cbr\u003e\u003cbr\u003eArakinema: Novel Photography, Studio Mouris Roppongi, Tokyo, Tuesday 9 July. Tokyo, Studio Mouris, [1996]. Announcement card (149 x 100 mm, 6 x 4 in), printed address label on verso with stamp and postmark.\u003cbr\u003e\u003cbr\u003eA diagram in black pen on a leaf of ruled paper giving f. stop and shutter speed instructions for different lighting conditions.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"ARAKI, Nobuyoshi.","offers":[{"title":"Default Title","offer_id":55069803479415,"sku":"116436","price":27500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/116436_ea2a6638-a8be-4b71-a6ce-6cc097b0c186.jpg?v=1775854939"},{"product_id":"claude-cahun-lise-deharme-le-coeur-de-pic-116442","title":"Le Coeur de Pic.","description":"\u003ch4 class=\"srb-faux-head\"\u003epresentation copy inscribed by Claude Cahun\u003c\/h4\u003ePresentation copy, inscribed by Claude Cahun: 'á Germaine [Hennes] et J. Euzenat \/ Bien amicalement \/ Claude'.\u003cbr\u003e\u003cbr\u003eDeharme and Cahun, who were both active in French surrealist circles, envisioned Le Coeur de Pic as a cohesive artwork. Cahun's photographs brought inanimate objects to life and encouraged older viewers to see the world through a child's perspective.\u003cbr\u003e\u003cbr\u003e'Beyond its visual accomplishments, Le Coeur de Pic is also noteworthy as a collaborative project between two women artists. Well into the 1930s, surrealist women were still perceived as muses rather than creators, a realty that complicated collaborative projects between female artists and often resulted in the critical dismissal of their work' (What They Saw 94).\u003cbr\u003e\u003cbr\u003eFirst edition, inscribed by Claude Cahun in different coloured pencils on first page; 4to (267 x 208 mm, 10½ x 8¼ in); 20 photographs printed in relief halftone, preface by Paul Eluard; lightly foxed plain pastedowns, red cloth-covered boards over green cloth spine, titles in black on upper side, colour photographic reproductions on upper and lower, rubbing to extremities and sides, pulling to head, a very good copy; [60]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eWhat They Saw: Historical Photobooks by Women 1843-1999 pp94-95.\u003c\/i\u003e","brand":"CAHUN, Claude (pseud. SCHWOB, Lucy); DEHARME, Lise.","offers":[{"title":"Default Title","offer_id":55156838957431,"sku":"116442","price":9750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/116442_b063909f-c77d-4504-88ea-1f8499523196.jpg?v=1777150485"},{"product_id":"hans-bellmer-la-poupee-1936-116837","title":"La Poupée.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eLa Poupée evolved out of a series of events in Hans Bellmer's personal life: his cousin, Ursula Naguschewski, moving from Kassel to Berlin in 1932; an encounter with renowned dollmaker Lotte Pritzel and his attendance of a performance of Jacques Offenbach's Tales of Hoffmann, in which the protagonist falls in love with an automaton; and his mother shipping him his old toys. \u003cbr\u003e\u003cbr\u003eBellmer constructed several dolls, the first dating from 1933, which he assembled and photographed in strange and disquieting configurations. Ten of these photographs were published in Germany as Die Puppe (1934). It was Bellmer's cousin Ursula who, while studying at the Sorbonne in 1934, apparently first brought Bellmer's photographs to the attention of André Breton in Paris. In 1934, the Surrealist journal Minotaure published a portfolio of these images, and in 1936, one was published in an issue of Cahiers d'art devoted to the Surrealist object. Guy Levis Manos published this expanded French Edition with an introduction by Bellmer, translated by Robert Valencay. In February 1938, Bellmer left Berlin for Paris.\u003cbr\u003e\u003cbr\u003eFirst edition, number 76 of 100 copies with 5 hors commerce, this being one of 80 copies on papier rose; (159 x 123 mm, 6¼ x 4¾ in); 10 mounted gelatin silver photographs (116 x 77 mm, 4½ x 3 in), text translated by Robert Valençay; pink wrappers, light wear, peach printed folding cover with titles on upper side in black, light wear to extremities and folds, a near-fine copy in a custom box by Devauchelle; [44]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eLes éditions GLM, 1923-1974 no. 100; The Book of 101 Books: Seminal Photographic Books of the Twentieth Century pp88-89; The Photobook: A History I, p106; The Open Book p120-121; Paris, Les livres de photographies 1920-1950, p176-177.\u003c\/i\u003e","brand":"BELLMER, Hans.","offers":[{"title":"Default Title","offer_id":55156839252343,"sku":"116837","price":50000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/116837.jpg?v=1777150624"},{"product_id":"lemoine-who-was-lord-kitcheners-valet-1966-112390","title":"Who Was Lord Kitchener's Valet?","description":"\u003ch4 class=\"srb-faux-head\"\u003eoriginal photographs\u003c\/h4\u003eThese photographs show the interior and exterior of the I Was Lord Kitchener's Valet boutique on Portobello Road and an anti-apartheid rally in November 1966.\u003cbr\u003e\u003cbr\u003eUnique handmade book; (150 x 227 mm, 6 x 9 in); 16 gelatin silver photographs (approximately 125 x 87 mm, 5 x 3½ in) mounted on silver and gold foil leaves, London Underground ticket and flyer tipped in, I Was Lord Kitchener's Valet card and three button badges mounted on upper side, in a stamped and postmarked envelope; [32]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"LEMOINE, Jean-Marie.","offers":[{"title":"Default Title","offer_id":55196755034487,"sku":"112390","price":6000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/112390.jpg?v=1775862356"},{"product_id":"ray-johnson-untitled-the-ultimate-protest-ca-1964-117090","title":"Untitled (The Ultimate Protest).","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eRay Johnson (1927-1995) was an accomplished draughtsman, collagist, cut-up poet, and occasional performance artist who collaborated with a range of artists on the fringes of the avant-garde. He was at the centre of a far-reaching mail art network – The New York Correspondence School, which he founded in the early 1960s.\u003cbr\u003e\u003cbr\u003eMixed media collage on paper (approximately 104 x 148 mm, 4 x 6 in), framed.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"JOHNSON, Ray.","offers":[{"title":"Default Title","offer_id":55276844581239,"sku":"117090","price":3750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/117090.jpg?v=1776460260"},{"product_id":"calder-fetes-presentation-copy-117884","title":"Fêtes.","description":"\u003ch4 class=\"srb-faux-head\"\u003epresentation copy inscribed by calder\u003c\/h4\u003eA fine example of the complete portfolio of Fêtes, with seven aquatints and the original wrappers designed by Calder. \u003cbr\u003e\u003cbr\u003eThe inscription reads, 'Si vous aimez les | Fêtes, | Faites donc | Sandy Calder | Fait pour Gerald | Cramer, quand il aura | fini de Cramer', which loosely translates to 'If you like to party, then please do. Sandy Calder does for Cramer when he's finished burning'. There are two word plays with Fêtes and Faites and Cramer's surname with the colloquial French meaning to burn. Galerie Gerald Cramer was a Swiss gallerist and publisher who worked closely with the leading artists of the \u003cbr\u003e\u003cbr\u003eFêtes is a prose poem by French author Jacques Prévert, honoring Calder's remarkable achievements as a modern artist. Prévert explained that Calder is a 'sorcerer…of happiness', one whose art is a 'pleasure of eyes and heart'. Prévert was struck by Calder's seemingly effortless process, in which spontaneity, originality, and pure freedom of expression made him unclassifiable.\u003cbr\u003e\u003cbr\u003eIn preparing the illustrations for this project, Calder devised an unconventional technique for printing the brilliantly coloured aquatints that accompany Prévert's text. Calder first made a preliminary drawing in colour, and then cut sheet metal that had been prepared in aquatint to match the drawing. The various metal forms served as printing surfaces, which were laid out on a press and colours applied. The metal plates were then run through the press, transferring the colour to the paper, while simultaneously embossing the sheet.\u003cbr\u003e\u003cbr\u003eLimited edition, one of 150 copies on vélin d'Arches, from a total edition of 225, inscribed in ink to Gerald Cramer on the half-title, signed by the author and artist in pencil on the justification; folio (46 x 34 cm); complete portfolio of 7 aquatints in colour after Calder; loose in the original engraved wrapper with Calder's design, with original orange cloth box, title in black to spine, corner bumped and partly faded, a fine copy.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"CALDER, Alexander; PRÉVERT, Jacques.","offers":[{"title":"Default Title","offer_id":55456506216823,"sku":"117884","price":12500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/117884_78fe1cd0-1567-4967-848b-afcde7199135.jpg?v=1775857299"},{"product_id":"117820","title":"Alphabet Photographique [Photographic Alphabet].","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eRare photographic ABC by Gaston Karquel. WorldCat locates just two copies, one at Princeton and one at Amsterdam Public Library with one further copy held at the Bibliothèque L'Heure joyeuse in Paris (all seemingly lacking the explanatory text).\u003cbr\u003e\u003cbr\u003eThe additional leaf of text is titled, 'Et une dernière page pour ceux qui aiment la photo' with the following information for each photograph: subject, location and time of year, shutter speed, aperture, screen and film. Karquel states that this information is useful for the all the image hunters and admirers of photos. He also charmingly writes that 'Dictionaries or atlases, usually intended for children, are the favourite books of those who, as adults, have retained a taste for poetry.'\u003cbr\u003e\u003cbr\u003eKarquel's images are strikingly beautiful, from an industrial factory scene, to Provençal clouds and the Brittany coast they are all suitably arresting. There is also an emphasis on Gallic imagery such as the famous Zouave statue on the Pont de l'Alma across the Seine, a Château, the Pont d'Avignon, the Obelisk of Place de la Concorde and the Eiffel Tower. The text on the reverse of the photo follows on from one letter to the next. For example M is for moulin and the text reads, 'et j'irai aussi vite que le vent, le vent qui fait tourner les ailes des moulin' and the N for nuages reads, 'et qui chasse les nuages'.\u003cbr\u003e\u003cbr\u003eFirst edition, square 4to (21.3 x 21.3 cm); 26 loose black and white printed photographs with text to the reverse on a coloured background, plus one leaf of contents (with manuscript notes in pencil); housed in the original card and linen box with a photographic portrait and alphabet design, small tear to spine and some wear to box, otherwise a very good copy.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"KARQUEL, Gaston; DAVID, Pauline.","offers":[{"title":"Default Title","offer_id":55517780803959,"sku":"117820","price":4500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/117820.jpg?v=1775855072"},{"product_id":"andy-warhol-moderna-museet-first-edition-1968-117477","title":"Andy Warhol.","description":"\u003ch4 class=\"srb-faux-head\"\u003ean exceptional copy\u003c\/h4\u003eThis publication, the quintessential exhibition catalogue-as-artists' book, was issued to accompany Warhol's first major European retrospective, held at the Moderna Museet, Stockholm, in February and March 1968. The design and Warhol's themes of media culture and consumer society were hugely influential, particularly for Daido Moriyama and other Japanese photographers during the Provoke era of the late 1960s and 1970s. Kaspar König, working as an intern for the Moderna Museet in New York, developed the initial concept for the book, which Warhol approved. Warhol's dealer Leo Castelli then gave König access to the gallery's documentation archive and their Xerox machine, with which König produced a dummy.\u003cbr\u003e\u003cbr\u003eIn place of an introduction, the first section comprises a small selection of Warhol quotes and aphorisms, including the first appearance in print of the likely misattributed quote: 'In the future everybody will be world famous for fifteen minutes.' The following section reproduces photographs, reproductions of Warhol's artworks and installation views, and a series of photocopies of documentation from Leo Castelli's archive. Two large groups of photos of Warhol and his associates in and around the Factory follow, the first by Billy Name and the second by Stephen Shore, who each composed their sequences. Stephen Shore befriended Warhol as a teenager and frequently visited his studio between 1965 and 1967. Shore has acknowledged Warhol's pivotal influence on him at such a formative age.\u003cbr\u003e\u003cbr\u003eThe book was printed on newsprint on the rotary presses of the Sydsvenska Dagbladet newspaper. Using newsprint helped reduce the costs, but it also gave the book an ephemeral quality that appealed to the editors. The photocopies of documentation material from Leo Castelli's archive play heavily with the repetition and seriality of the imagery, with some images copied multiple times. The book's status as an 'object' stems from its method of production and final form mirroring procedures and ideas used by Warhol at the Factory at the time.\u003cbr\u003e\u003cbr\u003eFirst edition; (268 x 208 mm, 10½ x 8¼ in); black \u0026amp; white photographs by Billy Name and Stephen Shore, quotes and aphorisms by Warhol in English and Swedish, edited by Warhol, Kasper König, Pontus Hultén and Olle Granath, design by John Melin, Gösta Svensson and Stig Arbman; pages lightly toned as always on account of the use of newsprint, adhesive-bound colour illustrated wrappers after Warhol's 'Flowers' silk-screen, white spine with titles in black, in the publisher's printed mailing box, an exceptional copy; [644]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eThe Open Book: A History of the photographic book from 1878 to the present pp238-9; The Photobook: A History II, pp144-5; 802 photo books from the Auer Collection p480.\u003c\/i\u003e","brand":"[WARHOL, Andy]. KÖNIG, Kasper et al. (editors).","offers":[{"title":"Default Title","offer_id":55628761170295,"sku":"117477","price":3500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/117477.jpg?v=1775855909"},{"product_id":"bursak-kino-1925-117804","title":"Kino [Cinema].","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eRare insight into the early days of Soviet cinema. 'Encyclopaedic work. Most valuable materials' (Savine). \u003cbr\u003e\u003cbr\u003eThe recently proclaimed Soviet state saw the film industry as one of the most important tools for educating the masses in Communist ideology. However, the government had to first deal with challenges posed by an economy ravaged by WWI, revolution and a civil war. The film industry, as many others, needed to be rebuilt from scratch. In 1921 only one feature film, 'Hammer and sickle'. was produced in the country, and there were weeks when not a single cinema was open even in Moscow. \u003cbr\u003e\u003cbr\u003eTransition to the New Economic Policy in 1921 helped to revive the suffering economy. The film industry received an immediate boost, which to a large extent was due to the Lenin's personal attention to the matter. In 1922 the Soviet Union produced ten feature films; by 1924 the number was already up to forty two. \u003cbr\u003e\u003cbr\u003eThe offered work reviews the progress made by Soviet cinema in the years 1923 – 1925, giving an overview of the major films produced in these years followed by biographies of film directors and actors. The text is richly illustrated with stills and portraits of protagonists. The book concludes with a brief description of the state of the film industry in other countries. \u003cbr\u003e\u003cbr\u003eScarce. WorldCat locates only five copies in public libraries: Stanford, John Hopkins, University of Illinois, Cambridge University and Bayerische Staatsbibliothek in Munich.\u003cbr\u003e\u003cbr\u003eFirst edition, landscape folio (21 x 29.3 cm). 104 pp., with multiple ill; original boards, photomontage illustration after E.A. Mukhina to upper board, covers slightly worn, otherwise a very good copy.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"BURSAK, I. N. (editor).","offers":[{"title":"Default Title","offer_id":55628761563511,"sku":"117804","price":2000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/117804.jpg?v=1775857273"},{"product_id":"miro-tzara-parler-seul-paris-1950-118369","title":"Parler Seul. Poème.","description":"\u003ch4 class=\"srb-faux-head\"\u003ebinding by Georges Leroux\u003c\/h4\u003eFrom the edition de tête with an additional lithograph, heightened and signed by the artist.\u003cbr\u003e\u003cbr\u003eTzara composed these poems without punctuation or capitalisation in 1945, at the psychiatric hospital of Saint-Alban, at the invitation of Dr. Lucien Bonnafé. Miro's early books published before the war were sparsely illustrated and so this is considered his first signigicant artist's book. It also represents the artist's first publishing project in collaboration with Maeght. This copy is one of only 20 examples on velin de Montval. The additional plate has been considerably heightened by Miro in crayon and signed and dated using a mixture of colours. Combined with the exquisite binding by Leroux, this is a superlative example of Miro's Parler Seul.\u003cbr\u003e\u003cbr\u003eLimited edition, number 18 of 20 copies on Montval, from a total edition of 253, signed by the author and illustrator; folio, (37.5 x 28 cm); half-title, 72 lithographed illustrations (many full-page) printed in black and colour by Joan Miro, with an additional aquatint and lithographed plate heightened with crayon, signed and dated 12 June 1950; original upper wrapper bound in (collage of coloured paper and newsprint with lithographed design by Miro); binding signed and dated by Georges Leroux, 1962, full beige calf, covers decorated with elaborate title composed of onlaid coloured calf over 4 strips of inlaid black calf, spine with names of artist and author onlaid in mottled calf, gilt edges, straw-weave doublures and endpapers, calf-backed chemise and slipcase, both with lithographed designs by Miro on covers, a fine copy.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"MIRÓ, Joan; TZARA, Tristan.","offers":[{"title":"Default Title","offer_id":55628763791735,"sku":"118369","price":47500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/118369_6b5c343a-a6aa-467b-b516-18f67b2eb556.jpg?v=1777150874"},{"product_id":"virginia-woolf-voyage-out-first-american-edition-114545","title":"The Voyage Out.","description":"\u003ch4 class=\"srb-faux-head\"\u003erare 1927 issue in dustjacket\u003c\/h4\u003eVirginia Woolf's first novel, the first edition of which was put out by Duckworth in 1915 and not issued in the US until 1920, at which time Woolf took the opportunity to revise sections with which she was unhappy. An unknown number of sheets of that printing were imported by Duckworth, a portion being issued in 1920, and a small number reissued as this present, so-called 'Cheap Edition' in 1927.\u003cbr\u003e\u003cbr\u003eWe know of just one example of the 1915 printing still to exist in jacket and have handled just 2 jacketed copies of the 1920 English issue. This being the first similarly complete example of the 'Cheap Edition'.\u003cbr\u003e\u003cbr\u003eFirst American edition, second English issue; 8vo; faint offsetting to endpapers, else unmarked internally; publisher's navy blue cloth, gilt lettering to spine, with the original dustjacket priced '5\/- net' on spine, slight fading to spine and extremities, light bump to head of spine panel; a fine copy in near-fine dustjacket.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eKirkpatrick A1c.\u003c\/i\u003e","brand":"WOOLF, Virginia.","offers":[{"title":"Default Title","offer_id":55643469447543,"sku":"114545","price":5000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/114545_cb2fda2c-9610-43d8-987e-d25687e25aa0.jpg?v=1776891656"},{"product_id":"agatha-christie-lord-edgware-dies-first-edition-1933-119550","title":"Lord Edgware Dies.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eUnlike the UK issue, which was stamped 7\/6 in red ink with later editions stamped in black, this colonial issue for export to India remains unstamped, and at one time was in the hands of a bookseller in Kolkata. This copy is an outstanding example of one of the scarcest Christie titles from the early 1930s.\u003cbr\u003e\u003cbr\u003eThe ninth Hercule Poirot novel, Lord Edgware Dies, was first serialised in The American Magazine as '13 For Dinner'. This alternative title arose from the superstition that thirteen at dinner causes bad luck for the person who first leaves the table. In the text, after a last-minute change of plans, the characters find themselves unexpectedly at a table of thirteen people, a turning point in Christie's chilling mystery. The novel was well received world-wide, adapted for radio, television, and into a 1934 film starring Austin Trevor in his third performance as Poirot.\u003cbr\u003e\u003cbr\u003eFirst edition, first impression, colonial issue in unpriced dust jacket; 8vo; mild spotting throughout and on edges, bookseller's ticket to rear pastedown; publisher's orange cloth, spine and board lettered in black, illustrated dust-jacket, spine panel entirely unfaded, extremities a little creased, short closed tear to foot of spine panel, housed in a red quarter morocco drop back box; 252pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"CHRISTIE, Agatha.","offers":[{"title":"Default Title","offer_id":55671898374519,"sku":"119550","price":37500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/119550_70d31fd7-2a55-4012-b804-8a70ca5d4b1c.jpg?v=1777150354"},{"product_id":"agatha-christie-ten-little-first-edition-1939-119558","title":"Ten Little Niggers.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eFirst edition, first impression of Christie's best-selling novel, infamous for its title and cover, which was renamed And Then There Were None for the US market, and Ten Little Indians for subsequent issues and the film adaptations. The first of several titles inspired by nursery rhymes.\u003cbr\u003e\u003cbr\u003eChristie said that this was the hardest of her novels to write. She notes in her Autobiography, 'I wrote the book after a tremendous amount of planning and I was pleased with what I had made of it. It was clear, straightforward, baffling, and yet had a perfectly reasonable explanation'.\u003cbr\u003e\u003cbr\u003eFirst edition, first impression; 8vo; mild spotting throughout and on edges; publisher's orange cloth, spine lettered in black, with the dust jacket; a superb, bright copy in an exceptionally bright jacket, just a little rubbed and nicked at extremities, short closed tear to front panel; housed in a red quarter morocco drop back box; 252pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"CHRISTIE, Agatha.","offers":[{"title":"Default Title","offer_id":55671899292023,"sku":"119558","price":17500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/119558_d3895b2c-49ff-45b5-b0f8-adea01537afd.jpg?v=1777639923"},{"product_id":"alfred-russel-wallace-darwinism-first-edition-1889-116614","title":"Darwinism.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eFirst edition and an attractive copy of one of the most popular books by the co-discoverer of the theory of evolution by natural selection. From the library of chemist and bibliophile Dr. Sydney Ross, with his bookplate.\u003cbr\u003e\u003cbr\u003eAlfred Russel Wallace's scientific work in the Malay Peninsula, and the joint announcement of his and Darwin's theory of evolution by natural selection in 1858, made him one of the great figures of nineteenth-century science. By the end of his life 'he had become one of the best-known scientists in the world - \"the Grand Old Man of Science\" (Oxford Dictionary of National Biography). In 1886 he was invited to give a series of lectures at the Lowell Institute in Boston, and they served 'the point of departure for a new book, Darwinism (1889), which achieved considerable popularity and ranks among his best-known works (ODNB). \u003cbr\u003e\u003cbr\u003eFar more than a popular account of evolutionary science, Darwinism was a significant statement of Wallace's approach, advocating a pure theory without the addition of sexual selection and the inheritance of acquired characteristics, and laying the foundation for the neo-Darwinian synthesis of the 20th century (Romanes, Darwin After Darwin).\u003cbr\u003e\u003cbr\u003eFirst edition; 8vo; portrait frontispiece from a photograph, colour folding map, engravings and charts within the text, single leaf of undated publisher's ads at rear, bookplate of Dr. Sydney Ross, earlier ownership signature of J. Wilcox to the half-title, contents lightly toned; original green cloth, titles to spine gilt, green coated endpapers, cloth rubbed with some wear at the extremities and darkening of the spine and edges, a very good copy; 494pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"WALLACE, Alfred Russel.","offers":[{"title":"Default Title","offer_id":55671899390327,"sku":"116614","price":1500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/116614_2537dd09-4e91-4a85-9eee-2e8a0894cbe1.jpg?v=1775855793"},{"product_id":"119509","title":"Semeniškių idiles [Idylls of Semeniskiai].","description":"\u003ch4 class=\"srb-faux-head\"\u003eone of 200 copies\u003c\/h4\u003eEarly DP-era publication by the Lithuanian-American Fluxus artist, poet, and cinematographer Jonas Mekas (1922–2019), illustrated with rawings by Vytautas L. Adamkevičius (1923–1998). The book was published in a camp for Lithuanian Displaced Persons (DP) in post-war Germany, where Mekas, his brother Adolfas, and Adamkevičius found themselves after World War II. Together, they also published several jointly-authored volumes of experimental prose and poetry under the'Žvilgsniai' imprint, as well as the eponymous avant-garde literary and arts journal (three issues appeared in 1947–1948). In 1949, Mekas would move to New York, embarking on his career as an experimental film maker and fluxus artist. \u003cbr\u003e\u003cbr\u003eThe fragile publication offers a very rare window into Jonas Mekas' formative period. In 2007, an English translation by Adolfas Mekas was published in New York, on which the poet John Ashbery remarked: 'Nature,all but unmediated, pulses through the poems of recollected childhood that renowned filmmaker Jonas Mekas wrote in displaced camps in Germany just after World War II. Barred from returning to his native Lithuania, which had been occupied by the Russians, he concentrated instead on conjuring lost landscapes in free-verse \"idylls\" that recall Virgil's Georgics, Hölderlin, Stifter, Clare, Leopardi, Rilke, Pasternak, and William Carlos Williams, and are as direct as cinematography.' This is one of the scarcest of Mekas' known DP publications, with a print run of only 200 copies with the illustrations.\u003cbr\u003e\u003cbr\u003eLimited edition, one of 200 illustrated copies (there were a further 200 without illustrations); 4to (26.8 × 21.2 cm); five full-page illustrations; original staple-stitched illustrated wrappers, very minor wear to spine, otherwise a fine copy.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"MEKAS, Jonas; VYTAUTAS, Leonas Adamkevičius (illustrator).","offers":[{"title":"Default Title","offer_id":55673737347447,"sku":"119509","price":6250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/119509_007eed68-d9c0-4069-bc01-d519a9206cf4.jpg?v=1775855146"},{"product_id":"aenne-biermann-60-fotos-with-band-1930-116597","title":"60 Fotos...","description":"\u003ch4 class=\"srb-faux-head\"\u003ewith the publisher's scarce wraparound band\u003c\/h4\u003eThe first monograph of Aenne Biermann's photographs, with the publisher's scarce wraparound band, which exists in three versions: German, French, and English. This book was supposed to be a part of a much larger series of books titled Fototek, but only the first two were published due to the economic and political circumstances in Germany at the time. The first volume, also titled 60 Fotos, is devoted to Laszlo Moholy-Nagy, with future unrealized titles announced at the rear, to include 'The Monsterous - Kitsch in Photography'; 'Photomontage edited by Jan Tschichold'; 'The Police Photograph'; 'El Lissitsky 60 Fotos and Typofotos'; 'The Sport Photograph'; and '100 years of Nude Photography', a note also states that several others were being planned. The series was edited by Franz Roh and designed by Jan Tschichold.\u003cbr\u003e\u003cbr\u003eRoh and Tschichold had previously collaborated on Foto-Auge (1929), the book issued to accompany the Film und Foto exhibition in Stuttgart. Sales of the two Fototek volumes were sluggish, and the financial difficulties that Klinkhardt \u0026amp; Biermann encountered due to the economic crisis led to the sale of the publishing house. In March 1932, Franz Roh wrote to the photographer Moi Ver that he still hoped to be able to include his work in a later volume of the Fototek series but that negotiations with the new owners were ongoing. The following March, he again wrote to Moi Ver, stating that he hoped to continue the series with another publisher, adding that he had asked Laszlo Moholy-Nagy to come on board as a co-editor. However, shortly after this, the Nazi Party came to power, and the political and cultural changes in Germany made it impossible to continue a series like Fototek.\u003cbr\u003e\u003cbr\u003eAnna Sibillia Sternefeld was born in 1898 in Goch am Niederrhein, Germany which is close to the Dutch border. In 1920 she married Herbert Joseph Biermann (after her marriage she used the name Aenne or Änne). Her work featured in all the major international photographic exhibitions of the late 1920s and early 1930s including Fotografie der Gegenwart (1929, Essen); Film und Foto (1929, Stuttgart); Das Lichtbild (1930, Munich); Die Neue Fotografie (1931, Basel); and International de la Photographie (1932, Brussels). She died in 1933 after an illness and was therefore spared the Nazi persecution suffered by her family and the family of her husband. In 1939 her widower Herbert Biermann emigrated to Palestine, he attempted to bring Aenne's photographic archive with him but Nazi officials intercepted and confiscated it in Trieste. Her archive has never been fully recovered, and prints of only around four hundred photographs are known to have survived.\u003cbr\u003e\u003cbr\u003eIn the 1987 catalogue issued to accompany an exhibition at Museum Folkwang, Essen, Ute Eskildsen writes that Biermann's work 'records a photographic career that combined an individual approach, female experience, and a perception specific to the period... [demonstrating] Biermann's outstanding ability to express the structure of the subjects, while invariably enlivening the image with observations particular to the given situation. Herein lies the nexus between everyday experience and individual vision.'\u003cbr\u003e\u003cbr\u003eFirst edition; (249 x 175 mm, 9¾ x 7 in); black \u0026amp; white photographs printed in relief halftone by F. Bruckmann AG, Munich, introduction by Franz Roh, text in German, English, and French, design by Jan Tschichold; photo-illustrated wrappers printed in yellow and black, light rubbing to lower side, publisher's red printed wraparound band, minor wear, nick to upper panel, near fine in a custom drop spine box by Julie Nadot; 76pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eAenne Biermann Photographs 1925-1933; Regards sur un siècle de photographie à travers Le Livre no. 34; Fotografia Pública: Photography in Print 1919-1939 p57; Autopsie: Deutschsprachige Fotobücher 1918-1945 I, pp332-343; What They Saw: Historical Photobooks by Women 1843-1999 pp62-3.\u003c\/i\u003e","brand":"BIERMANN, Aenne.","offers":[{"title":"Default Title","offer_id":55817092825463,"sku":"116597","price":2750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/116597.jpg?v=1777150349"},{"product_id":"charles-sherrington-man-nature-first-edition-oliver-sacks-116620","title":"Man on His Nature. The Gifford Lectures, Edinburgh 1937-8.","description":"\u003ch4 class=\"srb-faux-head\"\u003eoliver sacks's working copy\u003c\/h4\u003eFirst edition, first impression of this key work in the philosophy of neurobiology. From the library of neurologist Oliver Sacks, with his octopus bookplate and extensively marked-up in his hand.\u003cbr\u003e\u003cbr\u003eSir Charles Sherrington (1857-1952) was one of the leading neurophysiologists of the twentieth century, whose work 'provided the basis of modern understanding of the nervous system, and the ways in which it receives, controls, utilizes, and responds to information from the external world (Oxford Dictionary of National Biography). The present work was first presented as a series of lectures at Edinburgh in 1937 and 1938. 'The book was widely read and went into several editions, including an exceedingly popular paperback. Described by the Sunday Times as 'one of the landmarks in the history of man's speculation about his own place in the universe', it was reprinted by the Physiological Society and given to every delegate attending the 17th International Physiological Congress in Oxford in 1947. It was selected as one of the hundred outstanding modern British books at the Festival of Britain in 1951. It was here that Sherrington explicitly addressed the mind–brain problem: 'But what of mind? Mind knows itself and knows the world: chemistry and physics, explaining so much, cannot undertake to explain mind itself. Sherrington continued to believe throughout his life that dualism was as reasonable an assumption to make as was monism' (ODNB).\u003cbr\u003e\u003cbr\u003eSacks has engaged assertively with the text, as evidenced by his numerous pencilled annotations: 80 pages include underlining or small marks, 12 feature more significant notes, and the rear endpapers have personal notes. For example, on the first page Sacks responds to Sherrington's assertion that \"Natural Science is a branch of knowledge by general consent not primarily based on the a priori...' with 'Is a \"Kantian\" science [?] a contradiction...\". On page 114 Sherrington's 'Even two and a half centuries later it underlay the so-called Nature-philosophy...' earns the retort, 'Am I in danger now (1983) of a new Nature-philosophy?' And he simply writes 'NO!' in reply to Sherrington's musing about beauty on page 160. The year Sacks annotated this copy, 1983, was only two years before the publication of The Man Who Mistook His Wife for a Hat, which deals with a concept defined by Sherrington: proprioception, the body's sense of itself and its relationship to the space around it. And Sacks would later publish a piece in the New York Review of Books discussing the subject of this work, Sherrington's philosophy of dualism, with reference to Man on His Nature alongside more recent scientific works (November 22, 1990 issue).\u003cbr\u003e\u003cbr\u003eFirst edition, first impression; 8vo; 7 plates, illustrations within the text, bookplate of Oliver Sacks and his pencilled notes in the text, contemporary pencilled ownership inscription to front free endpaper, book club ink stamp to rear pastedown, contents faintly toned; original green cloth, titles to spine gilt, spine rolled, gilt dulled, cloth worn at the extremities and marked with three dark spots on the upper board and two pale marks on the lower board, very good condition; 413pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"SHERRINGTON, Charles.","offers":[{"title":"Default Title","offer_id":55875570663799,"sku":"116620","price":2750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/116620_c887c099-54be-4426-b03c-9d88c54251c3.jpg?v=1775857595"},{"product_id":"lissitzky-suprematisch-worden-1922-120101","title":"Suprematisch worden van twee kwadraten in 6 konstrukties","description":"\u003ch4 class=\"srb-faux-head\"\u003eone of 50 copies signed by the artist\u003c\/h4\u003eAn excellent example of of the deluxe edition limited to 50 copies, signed by El Lissitzky. The Dutch edition was published by Theo van Doesburg for De Stijl the same year as the Russian Pro Dva Kvadrata. The original portrait format was converted to landscape format and the typographic text is not below, but to the right of the compositions. The change in language meant the design of the work was altered (Doesburg collaborated with Lissitzky) and they can be seen as two separate but complementary works. For example, the first double page spread with 'Voor Allen' differs vastly from the first leaf of the Russian which has an oversized capital R for 'Po vsem rebiatkami'.\u003cbr\u003e\u003cbr\u003eAbout Two Squrares is Lissitzky's groundbreaking book for children about two squares, black and red, that fly to earth from afar. The red square represents modern Soviet order and the black represents the chaos of pre-Revolutionary Russia. Lissitzky, Malevich and Ermolaeva along with other artists at the UNOVIS workshop in Vitebsk included squares in their official table of Suprematist symbols which one could apply to decorating streets and designing posters, books, textile, porcelain, and other objects. A UNOVIS leaflet of 1919 proclaimed, 'Wear the black square as a mark of the world economy. Draw the red square in your workshops as a mark of the world revolution in the arts.'\u003cbr\u003e\u003cbr\u003eDesigned two years earlier in Vitebsk but printed in Berlin in Russian and subsequently in Dutch, About Two Sqaures unites the cosmic ideas of Suprematism and the Constructivist techniques of book design. Lissitzky compared a book to an architectural structure that should be built with the aid of typographic machinery. The idea of constructing pages, using letter forms, instead of rows of words, and placing them in space with geometric forms originates in this book. This radical approach to book design marked the beginning of a new graphic art and is important not just in the history of the Russian avant-garde but twentieth century art in general.\u003cbr\u003e\u003cbr\u003eThis is a remarkably fresh copy of an incredibly scarce work. Lissitzy's Suprematist Tale remains one of the most important avant-garde artist's books of the era.\u003cbr\u003e\u003cbr\u003eDutch edition, one of 50 copies signed by Lissitzky in black ink on the colophon, this copy unnumbered, oblong 4to (21 x 26 cm); 8 unnumbered leaves, illustrations in black and red; publisher's printed wrappers, very minor light foxing to covers and small creases to corners otherwise a fine copy.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"LISSITZKY, El.","offers":[{"title":"Default Title","offer_id":55909555143031,"sku":"120101","price":35000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/120101_a28ab957-c58e-4301-b110-aa243540223a.jpg?v=1777150825"},{"product_id":"andre-breton-la-revolution-surrealiste-1924-1929-117780","title":"La Révolution Surréaliste. Nos. 1-12 (all published).","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eA scarce complete set of the first and most famous surrealist journal, whose first issue marks the official birth of the movement.\u003cbr\u003e\u003cbr\u003eContributors include Louis Aragon, André Breton, René Char, René Crevel, Giorgio de Chirico, Robert Desnos, Paul Éluard, Max Ernst, Man Ray, André Masson, Joan Miró, Francis Picabia, Pablo Picasso, and Yves Tanguy.\u003cbr\u003e\u003cbr\u003ePeriodical, 12 issues in 11 vols.; (293 x 202 mm, 11½ x 8 in); illustrated with halftone reproductions of photographs and artwork; wire-stitched photo-illustrated wrappers with black text, nos. 1-5 are red and 6-12 are white, occasional light handling, light wear to spines, occasional light marking and minor foxing, oxidation to staples, no.12 with more foxing and marking to lower side along spine, a very good set in a custom chemise and slipcase; various paginations.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"[SURREALISM.] NAVILLE, Pierre; PÉRET, Benjamin; BRETON, André (editors).","offers":[{"title":"Default Title","offer_id":55956371865975,"sku":"117780","price":3750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/117780_041f6ef3-d90b-4ed6-9eae-8711dc42816f.jpg?v=1776459226"},{"product_id":"robert-willan-vaccine-inoculation-first-edition-1806-117904","title":"On Vaccine Inoculation.","description":"\u003ch4 class=\"srb-faux-head\"\u003ean important early supporter of jenner\u003c\/h4\u003eFirst and only edition of one of the earliest detailed accounts of the practice of vaccination, by the founder of dermatology. Describing 'the skin lesions produced by vaccination and the diseases most commonly mistaken for subsequent smallpox', it did much to reassure the medical profession that vaccination was safe and effective (Oxford Dictionary of National Biography).\u003cbr\u003e\u003cbr\u003eWillan's reputation rests primarily on his contributions to the description and classification of skin diseases. 'His division of skin disease into eight groups according to their structure and appearance quickly won the approval of the profession. By 1801 Willan was an acknowledged expert on the subject and was able to give up his dispensary posts and build a private practice based on his specialist knowledge. In recognition of his work he was awarded the Fothergill medal in 1790, and in 1809 was elected to the Royal Society' (ODNB).\u003cbr\u003e\u003cbr\u003eWillan 'was greatly interested in smallpox as a public health problem... and one of the most powerful supporters of vaccination. Jenner said of his treatise on vaccination, 'You cannot quote a better authority\"' (Pusey, History of Dermatology, pp 65-66).\u003cbr\u003e\u003cbr\u003eFirst edition; 4to (27.5 x 21 cm); 2 hand-coloured plates, a little light, scattered spotting to contents and faint toning in the margins, plates slightly more so than the text; contemporary half calf rebacked to style, red morocco label, marbled sides, very good condition; 108pp, appendix livpp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"WILLAN, Robert.","offers":[{"title":"Default Title","offer_id":56031389581687,"sku":"117904","price":2000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/117904.jpg?v=1777151038"},{"product_id":"thomas-hobbes-tripos-london-1684-120627","title":"Hobbs's Tripos, in Three Discourses:","description":"\u003ch4 class=\"srb-faux-head\"\u003eimportant precursor to Leviathan\u003c\/h4\u003eThe first collected edition, misleading named 'The Third Edition', of Hobbes' important precursor to Leviathan, The Elements of the Law, printed here together with his discourse on freewill, Of Liberty and Necessity.\u003cbr\u003e\u003cbr\u003eElements was completed in 1640, shortly after the dissolution of the Short Parliament, and was initially circulated in manuscript form until 1650 when the work was printed in two parts under the titles Human Nature and De Corpore Politico. 'Starting with an account of human psychology and a powerful analysis of the origins (and the necessity) of the state, it mounted a strong defence of royal authority in such matters as the imposition of taxation' (ODNB).\u003cbr\u003e\u003cbr\u003eThe third work, Of Free Will and Necessity, was first published in 1654 without Hobbes' consent. It consists of his side of a fierce debate on the subject of freewill and necessity with the exiled Bishop of Derry, John Bramhall (1594-1653), following their meeting in 1645.\u003cbr\u003e\u003cbr\u003eFirst collected edition; 8vo (18.5 x 12 cm); pen and pencil notes to front free endpaper recto, small closed tear to margin of first divisional title, a little creasing; contemporary calf, rebacked, corners rubbed with minor loss, spine cap chipped, very good; [16], 317, [3]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eESTC R12077; Wing H2266; MacDonald\/Hargreaves 103.\u003c\/i\u003e","brand":"HOBBES, Thomas.","offers":[{"title":"Default Title","offer_id":56053576171895,"sku":"120627","price":1250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/120627.jpg?v=1775866058"},{"product_id":"richard-dawkins-extended-phenoptype-first-edition-signed-120763","title":"The Extended Phenotype. The Gene as the Unit of Selection.","description":"\u003ch4 class=\"srb-faux-head\"\u003esigned\u003c\/h4\u003eFirst edition, first impression of Dawkins' follow-up to The Selfish Gene. A superb copy signed by the author on the title, with the ticket to the Hay-on-Wye festival at which it was signed.\u003cbr\u003e\u003cbr\u003eWhile The Selfish Gene was written for a general audience, The Extended Phenotype is a technical volume aimed at fellow biologists, and Dawkins considers it his most important contribution to evolutionary science. He argues that the definition of the way genes are expressed (termed their phenotype) should not be limited to an organism's body but must be extended to its impact on the environment and other organisms. Classic examples include beaver dams and the manipulation of host behaviour by parasites.\u003cbr\u003e\u003cbr\u003eFirst edition, first impression, signed by the author on the title; 8vo; only the faintest toning along the upper edges of the contents; original green boards, titles to spine and upper board in silver, a very good copy in the lightly rubbed jacket; 307pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"DAWKINS, Richard.","offers":[{"title":"Default Title","offer_id":56155840807287,"sku":"120763","price":1500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/120763_6544cf6a-ab15-42c2-968c-5919a0450ac5.jpg?v=1775940981"},{"product_id":"chto-iz-chego-chichagova-120600","title":"Chto iz Chego [What out of What].","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eA scarce Constructivist children's book illustrated by the Chichagova sisters. The sisters, Galina and Olga studied at the Stroganov Academy until 1917 and in 1920 joined Vkhutemas under the tutelage of Rodchenko. They worked together on all of their book illustrations and remained keen advocates of the Constructivist movement. OCLC lists just two copies at Princeton and the University of Pensylvania.\u003cbr\u003e\u003cbr\u003eSole edition, 4to (28.5 x 21.8 cm); illustrations throughout, some repairs to gutter and spine; original illustrated wrappers, small loss of paper to lower corner, a very good copy.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"CHICHAGOVA, G. D., CHICHAGOVA, O.D. (illustrators); SMIRNOV, N. G.","offers":[{"title":"Default Title","offer_id":56176868327799,"sku":"120600","price":2000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/120600.jpg?v=1777150476"},{"product_id":"oronce-fine-protomathesis-first-collected-edition-1532-120891","title":"Protomathesis:","description":"\u003ch4 class=\"srb-faux-head\"\u003ea monument of the book arts\u003c\/h4\u003eFirst collected edition. A magnificent, large copy of this beautifully illustrated publication encompassing arithmetic, geometry, cosmography, and sundials. It contains the first printings of many of Finé's texts and more than two hundred fine woodcuts. In a handsome, contemporary binding likely produced in Spain.\u003cbr\u003e\u003cbr\u003eFiné (1494-1555) was Regius Professor of mathematics at the Collége Royal, recently founded by Francis I of France, to whom this volume is dedicated. He was also a talented artist and map-maker whose work 'is closely related to his major fields of mathematics, astronomy, and geography, and his contribution to book production is particularly interesting in extending beyond the illustration to the ornamentation of scientific texts' (Mortimer 225). \u003cbr\u003e\u003cbr\u003eThe present volume is the most important and lavish example of his design work, beginning with a fine architectural title page border with a lunette of Hercules defeating the Lernean Hydra, followed by a full-page woodcut representing the goddess of astronomy, Urania, lecturing the author, who holds a book and an astrolabe beneath a spherical model of the solar system. The other woodcuts include geometric figures, polyhedra, depictions of the Ptolemaic solar system, diagrams of planetary orbits, Finé's 'octant mesh' for mapping an eighth of the globe, and detailed renderings of instruments including quadrants, cross-staves, sundials, geometrical squares, astronomical rings, astrolables, and the hydraulic astronomical clock.\u003cbr\u003e\u003cbr\u003eThe text is in four parts, the first two dealing with arithmetic and geometry, the third with cosmography, and the fourth with gnomonics, the art of designing and using sundials. The text is didactic and practical in nature, encompassing fields such as navigation and surveying, with Finé explaining in the preface that his aim is to 'show the importance of mathematics, and to place practical mathematics on a sure theoretical footing... Given Finé's interest in instruments, and his statements about the need to ground practical mathematics in theoretical understanding, it is perhaps no surprise that the fourth book 'Concerning sundials and quadrants' includes descriptions of how to make and use a variety of sundials' (Eagleton, The Worlds of Oronce Finé, p. 85).\u003cbr\u003e\u003cbr\u003eFirst collected edition; folio (37.5 x 26.5 cm); title in elaborate woodcut architectural border by Lassere, 2 full-page woodcuts depicting Urania and the author beneath a celestial sphere, 280 fine woodcut illustrations and diagrams within the text, historiated initials and head and tail-pieces, tables in the text, without the blank leaves F8 and N6 or the errata leaf, leaf 193 misprinted as 194, leaf 209 misprinted 207, 17th or 18th century notes to title and front pastedown, some short closed tears in the margins of the title and early leaves professionally repaired with tissue, occasional small manuscript notes, marks, and spots within the text but overall contents fresh; contemporary limp calf, likely Spanish, elaborately panelled in blind with floral tools and roll featuring portrait heads, 7 raised bands, gilt and gauffered edges, edges, corners, and ends of spine repaired, some scuffs and marks to the calf, very good condition; 207 leaves.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eSmith, Rara Arithmetica, pp. 160-161; Stillwell, The Awakening Interest in Science 838; Mortimer, French 16th Century Books 225\u003c\/i\u003e","brand":"FINÉ, Oronce.","offers":[{"title":"Default Title","offer_id":56217759023479,"sku":"120891","price":50000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/120891_a052d9ba-657b-4d66-afec-7175cbca6180.jpg?v=1775940933"},{"product_id":"wallace-geographical-distribution-animals-first-edition-1876-117766","title":"The Geographical Distribution of Animals","description":"\u003ch4 class=\"srb-faux-head\"\u003ethe development of zoogeography\u003c\/h4\u003eFirst edition, a handsomely bound set of this important work. With the bookplates of San Francisco businessman and University of California Regent James K. Moffit, Jr. (1865-1955).\u003cbr\u003e\u003cbr\u003e'Wallace studied the fauna of the Malay peninsula and was struck both with its resemblances to and differences from that of South America. His studies resulted in this world-wide study, a pioneering work in zoogeography, and Wallace's most comprehensive monograph' (Hook \u0026amp; Norman, The Norman Library of Science and Medicine 2178).\u003cbr\u003e\u003cbr\u003eFirst edition; 2 volumes, 8vo (22 x 14 cm); colour folding map frontispiece to volume I, 6 other colour maps of which 2 are folding, and 20 engraved plates, errata list to volume I on the verso of the plate list and on a separate leaf in volume II, bookplate to each volume, contents spotted; early 20th century green half morocco with green pebble-grain cloth sides, spines gilt in compartments with bishop's mitre and crow tools, marbled endpapers, top edges gilt, bindings little rubbed at the extremities, a very good set; 503 \u0026amp; 607pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eHook \u0026amp; Norman, The Norman Library of Science and Medicine 2178.\u003c\/i\u003e","brand":"WALLACE, Alfred Russel.","offers":[{"title":"Default Title","offer_id":56248917557623,"sku":"117766","price":2750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/117766_12df2a5d-040f-462d-8c95-a2d4c718f038.jpg?v=1777064595"},{"product_id":"bulgakov-master-and-margarita-1969-120684","title":"Master i Margarita [Master and Margarita].","description":"\u003ch4 class=\"srb-faux-head\"\u003ethe first uncensored edition\u003c\/h4\u003eA great bibliographical rarity, especially so in the dust jacket of one of the greatest novels of the twentieth century. This is the first uncensored edition of Bulgakov's masterpiece, Master and Margarita, published by the CIA-backed publisher Posev in Frankfurt. It's much scarcer than both the YMCA and the Moskva journal editions. A more durable pocket sized version bound in maroon leatherette was also published by Posev in order to be smuggled in to the Soviet Union. This is a bright and fresh example of the wonderfully designed jacket featuring Behemoth the cat.\u003cbr\u003e\u003cbr\u003eFirst complete uncensored edition, 8vo (21 x 14.6 cm); previously censored text in italics; publisher's red cloth gilt and pictorial dust jacket designed by Radim Malat, very slight wear to jacket with minor loss to bottom of spine, cloth a little faded to head and tail of spine, a few spots to spine of jacket, else a near fine copy, 498pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"BULGAKOV, Mikail.","offers":[{"title":"Default Title","offer_id":56326943637879,"sku":"120684","price":8750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/120684_cd20c02c-36aa-4b02-a78e-8f135ead2d0f.jpg?v=1777236826"},{"product_id":"120843","title":"Black Mischief.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eWaugh's third novel, written whilst staying at Madresfield Court, Worcestershire as the guest of the Lygon sisters; this was the book that established his reputation as a master satirist. \u003cbr\u003e\u003cbr\u003eSet on the fictional African island of Azania, the novel chronicles the efforts of Emperor Seth, assisted by the Englishman Basil Seal, to modernise his kingdom, including the issue of home-made currency and the staging of a 'Birth Control Gala'.\u003cbr\u003e\u003cbr\u003eFirst trade edition; 8vo; frontispiece with map illustration, unmarked internally; publisher's black and red patterned boards, gilt lettering to spine, extremities slightly bumped, minor spotting to edges of textblock, original tan dustjacket printed in red and black, slight rubbing and creasing to extremities, but a very good copy without any of the usual browning to the dustjacket.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"WAUGH, Evelyn.","offers":[{"title":"Default Title","offer_id":56326943867255,"sku":"120843","price":2250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/120843_1300fbb6-432c-4f34-876a-e9a2f0b94e05.jpg?v=1776891103"},{"product_id":"florence-nightingale-notes-nursing-second-issue-1860-121184","title":"Notes on Nursing: What It Is, and What It Is Not.","description":"\u003ch4 class=\"srb-faux-head\"\u003ethe origin of modern nursing\u003c\/h4\u003eFirst edition, second issue, with advertisements on the endpapers dated 1860 and 'the right of translation is reserved' on the title. An attractive copy.\u003cbr\u003e\u003cbr\u003e'Defining nursing as \"helping the patient to live\", Nightingale \"introduced the modern standards of training and esprit de corps, and early grasped the idea that diseases are not 'separate entities'... but altered conditions, qualitative disturbances of normal physiological processes, through which the patient is passing. While she did not know the bacterial theory of infectious diseases, she realized that absolute cleanliness, fresh air, pure water, light, and efficient drainage are the surest means of preventing them\"' (Garrison, History of Medicine, p. 773, quoted in Norman Library of Science and Medicine 1600).\u003cbr\u003e\u003cbr\u003eOn her return from the Crimean War a public subscription was raised to found a school of nursing. Notes on Nursing was published six months before the school opened and was intended, 'not as a textbook, but as a book of hints for those nursing in the hospital ward and in the domestic sick room. The principles of hygiene and sanitation which Nightingale had applied with such success in the military hospital at Scutari, in the Crimea, were fundamental... Notes on Nursing described in great practical detail the nurse's duties in supplying her patient's needs, and it indicated a new and more responsible role for nurses, one that required proper training and medical knowledge. Notes on Nursing was the first major work on it subject and remained influential for many years' (Grolier, One Hundred Book Famous in Medicine 71).\u003cbr\u003e\u003cbr\u003eFirst edition, second issue; 8vo; chart within the text, small tape repair on the verso of the title, short closed tear in the margin of D4; original limp brown pebble-grain cloth, title to upper board gilt, yellow endpapers printed with publisher's ads, spine rebacked to style, cloth lightly rubbed with tiny worn spots at the corners, very good condition; 79pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eBishop \u0026amp; Goldie, Florence Nightingale: A Bio-Bibliography, pp. 15-18; Grolier, One Hundred Books Famous in Medicine 71; Hook \u0026amp; Norman, The Norman Library of Science and Medicine 1600-1602.\u003c\/i\u003e","brand":"NIGHTINGALE, Florence.","offers":[{"title":"Default Title","offer_id":56326950748535,"sku":"121184","price":1950.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/121184_1000554c-5840-42fd-a8b3-9c3f03e30059.jpg?v=1775859057"},{"product_id":"george-seferis-erotokritos-first-edition-inscribed-120870","title":"Erōtokritos.","description":"\u003ch4 class=\"srb-faux-head\"\u003eone of 25 copies - inscribed by the author to his sister-in-law\u003c\/h4\u003eA wonderful familial association copy, inscribed by the author in Greek on the half-title: 'To Maroulis \/ with love \/ Seferis \/ 12 Dec. 46.' The recipient was Amaryllis Zannou-Dragoumi, the sister of Seferis' wife Maro Seferi.\u003cbr\u003e\u003cbr\u003eErōtokritos is a piece of literary criticism by Seferis on the epic poem of the same name. The poem is a romance composed by Vikentios Kornaros in early 17th century Crete, in which the poet narrates the trials and tribulations suffered by two young lovers, Erotokritos and Aretousa, daughter of Herakles, King of Athens. A major source of inspiration for Seferis, Erōtokritos sets great store by true love, friendship, courage, and patriotism, and this is the reason for its later popularity all over Greece.\u003cbr\u003e\u003cbr\u003eA fine piece of book production, of which this is just one of 25 examples.\u003cbr\u003e\u003cbr\u003eFirst edition, number 20 of 25 hors commerce copies for presentation, inscribed by the author, from a total edition of 75 copies on 'sparto' paper; 8vo (17.5 x 11.8 cm); 6 full-page b\u0026amp;w plates, decorative headpieces, internally fine; original cream wrappers printed in red and black; a fine copy.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eDaskalopoulos A67. NB: Modern Greek polytonic orthography transliterated according to the Library of Congress Standard.\u003c\/i\u003e","brand":"SEFERIS, Giorgos [George].","offers":[{"title":"Default Title","offer_id":56326950879607,"sku":"120870","price":5000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/120870.jpg?v=1776459689"},{"product_id":"odysseas-elytis-six-one-remorses-sky-first-edition-inscribed-120866","title":"Hexē kai mia typseis gia ton ourano","description":"\u003ch4 class=\"srb-faux-head\"\u003eone of only 5 copies - inscribed by the author to the editor\u003c\/h4\u003eOne of 5 copies from the tirage de tête, inscribed by the author in Greek on the half-title: 'To E. Ch. Kasdaglis \/ with love \/ Elytis'. \u003cbr\u003e\u003cbr\u003eThe recipient was the Greek scholar, author and book editor Emmanuel Ch. Kasdaglis, the editor of this work (as stated in the colophon). Kasdaglis, above all, was the soul of the Cultural Foundation of the National Bank of Greece (MIET) and its director from its foundation in 1966 until his death in 1998. In addition to the Foundation's publications, he organised artistic and literary exhibitions, while at the same time he was privately involved in the literary and typographical editing of a number of Greek texts (Collected Works of Kazantzakis, Prevelakis, Karyotakis, works by Solomos, Seferis, Elytis, Theotokas, Andronikos), and also wrote his own poems and essays. He further served as president of the Society of Authors and Secretary General of the Society of Studies of the Moraitis School.\u003cbr\u003e\u003cbr\u003eInfluences of surrealism meet traditional Greek literature in the poetry of Elytis. Most of his poems celebrate light, the sun, his native country's historic ruins, the blue sea, and the rocky terrain of Greece. Elytis' experiences during World War II introduced a darker element and tone into his poetic oeuvre. Six and One Remorses for the Sky remains one of his most significant collections of poetry, and is his first collection since Sun the First, together with Variations on a Sunbeam (1943).\u003cbr\u003e\u003cbr\u003eFirst edition, copy Γ΄ [3] of 5 copies from the tirage de tête on coloured Ingres paper (numbered Α΄- Ε΄ [1-5 in Greek numerals]), inscribed by the author, from a total edition of 550; 8vo (24.5 x 16.3 cm); lithographed frontispiece by Yiannis Moralis, internally fine; original pale grey pictorial wrappers by Yiannis Moralis printed in black and purple, uncut and unopened, minor creasing to extremities, else fine.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eNB: Modern Greek polytonic orthography transliterated according to the Library of Congress Standard.\u003c\/i\u003e","brand":"ELYTIS, Odysseas.","offers":[{"title":"Default Title","offer_id":56326951764343,"sku":"120866","price":7500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/120866.jpg?v=1777640148"}],"url":"https:\/\/shapero.com\/collections\/california-international-antiquarian-book-fair.oembed","provider":"Shapero Rare Books","version":"1.0","type":"link"}