{"title":"Photobooks","description":"","products":[{"product_id":"william-howitt-ruined-abbeys-of-the-border-1865-original-photographs-87476","title":"The Ruined Abbeys of the Border:","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eFine copy of the first edition of this re-issue of part of Ruined Abbeys and Castles of Great Britain, 1862 with photographic illustrations by Wilson and Thompson.\u003cbr\u003e\u003cbr\u003eOctavo (19 x 14.5 cm). Title, [2], 70, [2] pp., including 5 mounted albumen prints; very light occasional spotting.  Original cloth, gilt-ruled upper cover with photograph of Norham Castle; slightly rubbed. \u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"HOWITT, William.","offers":[{"title":"Default Title","offer_id":45546971496753,"sku":"87476","price":250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/87476.jpg?v=1780618672"},{"product_id":"hereford-george-ernst-edwards-oberland-glaciers-1866-first-edition-photographs-90032","title":"The Oberland and its glaciers:","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eA fine example of this extremely beautiful and important work on the Swiss Alps and its Glaciers. It is one of the earliest of its kind to be illustrated with original photographs. George, editor of the Alpine Journal and a noted historian, was one of the English pioneers of the Golden Age of mountaineering. He was a friend of Tyndall and made the first ascent of the Great Viescherhorn as well as the first ascent of the Jungfrau from the side of the Wengeralp. The photographer was Ernest Edwards, a noted portraitist of his day and 'considered to be the best of the early amateur Alpine photographers'. He added a seven-page report 'Notes by the Photographer' which contains information about the work and equipment of a contemporary photographer in the mountains.\u003cbr\u003e\u003cbr\u003eFirst edition. 4to, 28 original albumen prints, including frontispiece and title vignette, double-page map of the Oberland, tissue guards, modern dark blue half morocco gilt, marbled sides, original gilt pictorial upper cover bound-in at end, all edges gilt, a fine copy.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eGernsheim p.290; Neate G13; Perret 1884.\u003c\/i\u003e","brand":"GEORGE, H[ereford]B[rooke]; EDWARDS, Ernst (photographer).","offers":[{"title":"Default Title","offer_id":45547009179953,"sku":"90032","price":1250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/90032_c6f00250-db59-446f-a659-21669ffc5051.jpg?v=1780626347"},{"product_id":"strand-paul-wall-street-1916-91270","title":"Wall Street.","description":"\u003ch4 class=\"srb-faux-head\"\u003eicon of Modernism\u003c\/h4\u003eAn iconic image of Wall Street and a turning point in modern photography.\u003cbr\u003e\u003cbr\u003eWall Street depicts a scene of everyday life in Manhattan's Financial District. Workers are seen walking past the J.P. Morgan building in New York City on the famous Wall Street, of which the photograph takes its name. The photograph is famous for its reliance on the sharpness and contrast of the shapes and angles, created by the building and the workers, that lead to its abstraction. This photograph is considered to be one of Strand's most famous works and an example of his change from pictorialism to straight photography. Strand moved from the posed to portraying the purity of the subjects. There is no focal point, with the lines converging off of the frame of the image. The financial building take majority of the frame. Emphasis is placed on the strong shapes created by the architecture of the building. The workers are included in the image, but are faceless and are trumped in size by the massive square shapes from the building they walk past. Also, the workers are captured in motion which on film makes them appear blurry. This aesthetic that Strand creates in Wall Street is his break toward the modern.\u003cbr\u003e\u003cbr\u003eSocial change was important to Strand. With Wall Street, he sought to portray a social message. He captured the faceless people next to the looming financial building in order to give a warning. Strand shows 'the recently built J.P. Morgan Co. building, whose huge, dark recesses dwarf the passers-by with the imposing powers of uniformity and anonymity' (Ollman, Art Review: Paul Strand: A Transition, Caught on Film.) The people cannot escape the overwhelming power that this modern establishment will have on their future and the future of America. He warns us to not be the small people that look almost ant-like next to this building that has a massive amount of control over the American economy.\u003cbr\u003e\u003cbr\u003eThe photo, now simply titled 'Wall Street', was one of six Paul Strand pictures Stieglitz published in Camera Work. In three of the six pictures, humanity strides out from abstract ideas, and each figure was a study in itself — an irregular item complimented by modular formats that surround it. Another set of eleven Strand photos were published in the magazine's final issue in 1917, and those pictures, overwhelmingly endorsed by Stieglitz as 'brutally direct' made Strand's reputation.\u003cbr\u003e\u003cbr\u003ePhotogravure on japan paper, from Camera Work No. 48, annotated on the reverse, image size 13.4 x 16.6 cm., sheet 28.1 x 20 cm, mounted and framed.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"STRAND, Paul.","offers":[{"title":"Default Title","offer_id":45547043160369,"sku":"91270","price":16500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/91270.jpg?v=1780617747"},{"product_id":"alfred-stieglitz-the-steerage-1907-92035","title":"The Steerage.","description":"\u003ch4 class=\"srb-faux-head\"\u003estieglitz's most iconic photograph\u003c\/h4\u003eIn June 1907, Stieglitz and his family sailed to Europe to visit relatives and friends. They booked 1st class tickets on the SS Kaiser Wilhelm II, one of the largest and fastest ships in the world at that time. According to Stieglitz, sometime after their third day of travel, he went for a walk around the ship and came upon a viewpoint that looked down toward the lower class passengers area, known on most ships as the steerage. The scene Stieglitz captured is in fact a cultural document of an important period when many immigrants were coming to America. But this photo was taken on a cruise going to Europe from America, and so the poor people captured in the photo were most likely those who were turned away by U.S. Immigration officials and were forced to go back to Europe. Although some of the passengers might have been rejected immigrants, turned back because of failure to meet financial or health requirements for entrance, it is also likely that many of them were various artisans who worked in the booming U.S. construction trade of the time. Workers who were highly skilled in crafts such as cabinetmaking, woodworking and marble laying were granted two-year temporary visas to complete their jobs and then returned to their homelands when the work was complete. A son of German Jewish immigrants, Stieglitz perhaps recognised himself in those people of the lower deck.\u003cbr\u003e\u003cbr\u003eThe Steerage began its life as a masterpiece four years after its creation, with Stieglitz's publication of it in a 1911 issue of Camera Work devoted exclusively to his photographs in the 'new' style, together with a Cubist drawing by Picasso. Stieglitz loved to recount how the great painter had praised the collage-like dispersal of forms and shifting depths of The Steerage. Canonised retroactively, the photograph allowed Stieglitz to put his chosen medium on par with the experimental European painting and sculpture he imported and exhibited at his gallery.\u003cbr\u003e\u003cbr\u003eAlfred Stieglitz (1864-1946), an American-Jewish photographer, was a major force in the promotion and elevation of photography as a fine art in America in the late-nineteenth and early-twentieth centuries. The Steerage is considered Stieglitz's signature work, and was proclaimed by the artist and illustrated in histories of the medium as his first 'modernist' photograph. It marks Stieglitz's transition away from painterly prints of Symbolist subjects to a more straightforward depiction of quotidian life.\u003cbr\u003e\u003cbr\u003eSmall format photogravure on Japanese tissue paper, (197 x 158 mm, 7¾ x 6¼ in), hinge-mounted.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eStieglitz, Camera Work 36.\u003c\/i\u003e","brand":"STIEGLITZ, Alfred.","offers":[{"title":"Default Title","offer_id":45547050434865,"sku":"92035","price":9500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/92035_08b36d69-8a58-4539-805c-ff8ca4ecf310.jpg?v=1780622253"},{"product_id":"pierre-tremaux-paralleles-edifices-anciens-modernes-africain-1858-first-edition-96298","title":"Parallèles des Édifices anciens et modernes du Continent Africain:","description":"\u003ch4 class=\"srb-faux-head\"\u003ewith calotype plates\u003c\/h4\u003eRare photographs by Trémaux, which 'rank among the earliest endeavours to record indigenous people by photography... Trémaux complained, typically that the inhabitants of Islamic countries were not usually comfortable having their photographs taken. He persisted, however, revealing himself as one of the few early French photographers as interested in recording the people of a region as he was with its archaeological ruins' (Jacobson). Trémaux (1818-1895) travelled to Egypt, Libya, Tunisia and Asia Minor in the late 1840s and began taking photographs around 1853-4, however the photographs were technically uneven, obliging him to substitute them with lithographs, however the rare images that survive have ensured the photographer's lasting reputation. The photographs are numbers 10, 28, 61, 63, 65, and 70 each (except plate 28) with lithograph duplicate.\u003cbr\u003e\u003cbr\u003eAtlas volume only; issued originally as part of the author's Voyage au Soudan oriental... (Paris: Borrani et Droz, 1852-1858).\u003cbr\u003e\u003cbr\u003eLandscape folio (35 x 55 cm), [16] ff., colour lithographic title, 6 calotypes, 76 lithograph plates (some in colour) with 5 lithographic duplicates on tissue tipped in as guards for calotypes, plate 68 on a different paper, trimmed and tipped in, folded map. Title and subsequent leaf with soft crease and dust-soiled, letterpress leaves with light foxing and occasional soft crease, map with short tear, modern blue half morocco gilt, marbled sides, a very good copy.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eGoldschmidt and Naef, The Truthful Lens (NY, 1980), no.171; Perez, N., Focus East: Early Photography in the Near East 1839-1885 (NY, 1988), pp.227-228; Jacobson, K. Odalisques \u0026amp; Arabesques; Orientalist Photography 1839-1925 (London, 2007) Brunet V, 935.\u003c\/i\u003e","brand":"TREMAUX, Pierre.","offers":[{"title":"Default Title","offer_id":45547093098801,"sku":"96298","price":19500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/96298.jpg?v=1780616204"},{"product_id":"sigmund-krausz-street-types-great-american-cities-97308","title":"Street Types of Great American Cities.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eFIRST EDITION, a reprint of Krausz's Street Types of Chicago of 1892, this edition with 10 additional plates and vignettes and an updated title intended to ensure the work's broader commercial appeal.\u003cbr\u003e\u003cbr\u003e8vo, (195 x 138 mm), 46 photographic plates with associated vignettes, a few leaves with light marginal stains, publisher's pictorial tan cloth, a bit soiled with small, red stain to edge of rear board, otherwise good. \u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"KRAUSZ, Sigmund.","offers":[{"title":"Default Title","offer_id":45547108466993,"sku":"97308","price":275.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/97308.jpg?v=1780617500"},{"product_id":"ted-hughes-remains-elmet-first-edition-100652","title":"Remains of Elmet.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eA series of poems inspired by the photographs taken by Fay Godwin, preceded by the Rainbow Press limited edition, which only had four of the sixty-three included here. Scarce in such condition.\u003cbr\u003e\u003cbr\u003eFirst edition, first impression, trade issue; small 4to (255 x 215 mm.); photographic illustrations by Fay Godwin; original cloth-backed boards, photographic dust-jacket, price-clipped, a fine copy.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"HUGHES, Ted; GODWIN, Fay (photographer).","offers":[{"title":"Default Title","offer_id":45547156734257,"sku":"100652","price":250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/100652.jpg?v=1780617849"},{"product_id":"roman-vishniac-signed-first-edition-1974-many-photographs-102156","title":"Roman Vishniac.","description":"\u003ch4 class=\"srb-faux-head\"\u003esigned\u003c\/h4\u003e'The ninety-eight photographs in this book, twenty of which are in colour, are divided almost equally between these two expressions of Roman Vishniac's ''reverence for life'' - be it life that is invisible, or the life that vanished.  Essays by Eugene Kinkead and by Vishniac himself accompany the photographs'.\u003cbr\u003e\u003cbr\u003eFirst edition, signed on front free endpaper; sml. 4to (220 x 190 mm); colour and black \u0026amp; white photographic illustrations; publisher's black cloth, lettering in white to spine, slight fading to edges, pictorial dust-jacket, toned, slight rubbing to extremities, otherwise very good. \u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"VISHNIAC, Roman.","offers":[{"title":"Default Title","offer_id":45547185406257,"sku":"102156","price":200.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/102156_956f84d4-12f9-4859-a000-e4fe14f7bc05.jpg?v=1780616848"},{"product_id":"karsh-american-legends-signed-first-edition-102298","title":"Karsh: American Legends.","description":"\u003ch4 class=\"srb-faux-head\"\u003einscribed to civil rights photographer gordon parks\u003c\/h4\u003eAn attractive dedication copy of Karsh's striking portraits. The photographer has inscribed this copy 'To: Gordon Parks, in friendship, Yousuf Karsh'. \u003cbr\u003e\u003cbr\u003eGordon Parks (1912-2006) was an American photographer, musician, writer and film director, who became prominent as a photojournalist in the 1940s through 1970s, particularly on issues of civil rights, poverty and African-Americans, but he also won renown for his glamour photography.\u003cbr\u003e\u003cbr\u003eFirst edition, first printing; signed presentation copy from the artist; 4to (305 x 240 mm.); photographic portraits throughout; publisher's blue cloth, mild sunning to extreme top-edge, dust-jacket, small bar of fading to top edge of upper panel, otherwise very good.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"KARSH, Yousuf.","offers":[{"title":"Default Title","offer_id":45547187536177,"sku":"102298","price":500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/102298.jpg?v=1780628417"},{"product_id":"aaron-siskind-photographer-signed-first-edition-102419","title":"Aaron Siskind photographer.","description":"\u003ch4 class=\"srb-faux-head\"\u003esigned presentation copy from the author\u003c\/h4\u003eInscribed by the photographer on the front free endpaper, 'To Bud \u0026amp; Helen l-o-v-e Aaron 5\/21\/65'. This book includes an extensive bibliography and chronology of the American photographer's work.\u003cbr\u003e\u003cbr\u003eFirst edition; signed presentation copy from the author; 4to (260 x 260 mm.); photographic illustrations; publisher's red cloth lettered in black, dust-jacket, small repair to head of spine, chip from top-edge of lower panel, otherwise very good.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"SISKIND, Aaron; LYONS, Nathan (editor).","offers":[{"title":"Default Title","offer_id":45547193303345,"sku":"102419","price":250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/102419_1.jpg?v=1780622004"},{"product_id":"paul-strand-tir-ammhurain-outer-hebrides-104594","title":"Tir A'mhurain. Outer Hebrides","description":"\u003ch4 class=\"srb-faux-head\"\u003epresentation copy\u003c\/h4\u003eOne of the most influential photographers of the twentieth century, Paul Strand (1890-1976) was born in New York City and went on to study under Lewis W. Hine before becoming a commercial photographer in 1912, following Alfred Stieglitz in his commitment to 'straight' photography. In 1933 he was appointed chief of photography and cinematography in the Secretariat of Education in Mexico. After 1942 he concentrated on still photography for his records of life in many parts of the world. \u003cbr\u003e\u003cbr\u003eThis presentation copy is inscribed by Paul Strand to Mohamed Ouda and his wife. Ouda (1920-2006) was an Egyptian thinker and writer. He was one of Egypt's staunchest Nasserists whose motto in life was 'You never own anything. It is things that own you' - a motto which earned him the title of 'the Egyptian Gandhi'.\u003cbr\u003e\u003cbr\u003eFirst edition; 4to (28 x 23 cm); presentation inscription by photographer on half title page reads 'To Mohamed and Aicha Ouda, with friendship and much affection. Paul Strand. Cairo. April. 1965.', numerous black \u0026amp; white photographic illustrations; publisher's printed grey cloth, pictorial dust wrapper, chipped and worn; overall a very good copy.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"STRAND, Paul.","offers":[{"title":"Default Title","offer_id":45547267031345,"sku":"104594","price":1950.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/104594.jpg?v=1780615598"},{"product_id":"kelly-elsworth-bois-yve-alain-spencertown-1994-104595","title":"Spencertown. Recent Paintings","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eSigned by the artist on the half title, signed by the photographer under the colophon. \u003cbr\u003e\u003cbr\u003eFirst edition; 4to; illustrations, photographic essay by Jack Shears, publisher's cloth, pictorial dust jacket. \u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"KELLY, Elsworth. BOIS, Yve-Alain (introduction).","offers":[{"title":"Default Title","offer_id":45547267064113,"sku":"104595","price":250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/104595.jpg?v=1780628444"},{"product_id":"walker-events-mathew-wusocki-1972-104608","title":"Walker Evans. Artist-in-Residence.","description":"\u003ch4 class=\"srb-faux-head\"\u003epresentation copy\u003c\/h4\u003epresentation copy, inscribed: 'Louis Dean gratefully, Walker Evans'. \u003cbr\u003e\u003cbr\u003eIn autumn 1972, Walker Evans accepted an invitation from Dartmouth College to be its artist-in-residence, to spend ten weeks living and working in and around Hanover, New Hampshire, making himself available to students but without the obligation to teach a course there.\u003cbr\u003e\u003cbr\u003eFirst edition, a presentation copy inscribed on title-page; small 4to (197 x 170 mm, 7¾ x 6¾ in); black and white photographs printed in offset, text by Matthew Wysocki; wire stitched printed card wrappers, grey, titles in black, corner slightly creased, list of exhibited works laid in, near fine; [30]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"EVANS, Walker.","offers":[{"title":"Default Title","offer_id":45547267621169,"sku":"104608","price":250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/104608_2_e4201d60-7f54-4c90-852a-a292cb1e53af.jpg?v=1780618426"},{"product_id":"brassai-les-artistes-de-ma-vie-104609","title":"Les Artistes de ma vie.","description":"\u003ch4 class=\"srb-faux-head\"\u003epresentation copy\u003c\/h4\u003eA presentation copy, inscribed in ink on the half title page 'Pour notre chere Juliette en toute amitie Brassai Paris. le 4 decembre 1982'\u003cbr\u003e\u003cbr\u003eFirst French edition; 4to; 38 black \u0026amp; white photographic illustrations, slightly shaken; publisher's cloth, pictorial dust jacket, nicked along the edges, torn with some loss on the top edge at the rear, lower edge at the front, small chip to the spine.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"BRASSAI.","offers":[{"title":"Default Title","offer_id":45547267719473,"sku":"104609","price":650.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/104609_e1b97ee4-a2be-4c22-a933-ebbf2511b142.jpg?v=1780623506"},{"product_id":"brassai-henry-miller-paris-1975-signed-105010","title":"Henry Miller Grandeur Nature.","description":"\u003ch4 class=\"srb-faux-head\"\u003epresentation copy inscribed by Brassai\u003c\/h4\u003eWith the author\/photographer's signed presentation inscription to the half title page, 'Pour Monsieur Michel Moine en amical hommage de Brassai le 18 Nov 1975'. The recipient was a French journalist and writer on parapsychology. A service de press copy with the discrete 'S.P.' perforated stamp to the lower wrappers and last two leaves.\u003cbr\u003e\u003cbr\u003eFirst trade edition, first printing; presentation copy inscribed by Brassai. 8vo. 53 photographic illustrations. Publisher's cream wrappers printed in black and red. With the photographic dust jacket. A superb copy in the very slightly tanned dust jacket.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"BRASSAI.","offers":[{"title":"Default Title","offer_id":45547280400689,"sku":"105010","price":325.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/105010_f73395cc-d8b8-499d-9b61-6c8e82ada12d.jpg?v=1780623503"},{"product_id":"coburn-london-1909-105019","title":"London. With an Introduction by Hilaire Belloc.","description":"\u003ch4 class=\"srb-faux-head\"\u003elandmark publication in early 20th-century photography\u003c\/h4\u003efirst edition of this important photo-book; a landmark publication in early twentieth-century photography.\u003cbr\u003e\u003cbr\u003eA member of Alfred Stieglitz's Photo-Secession circle, Coburn perhaps learnt from Stieglitz the effectiveness of high quality photo-mechanical reproduction as an expressive vehicle for artist-photographers. He was the most important American photographer of his generation to expend significant energy on illustrating books. Amongst his output, Coburn published two books of identical design, one featuring London, the other New York. These exemplify the concern of the more advanced pictorialists with modern subjects, namely the twentieth century city, a shift in attitude that triggered the final push to photographic modernism.\u003cbr\u003e\u003cbr\u003eFirst edition, folio (415 x 315 mm, 16¼ x 12½ in); introduction by Hilaire Belloc, some spotting to text pages, publisher's perforated stamp stating 'presentation copy' on title-page, 20 hand-pulled warm-toned gravures from plates prepared by Coburn and printed under his supervision at the Ballantyne Press, mounted on grey card; contemporary green morocco-backed grey boards with gilt lettering on front, restoration to spine, wear to extremities; xxi, [iii]]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"COBURN, Alvin Langdon.","offers":[{"title":"Default Title","offer_id":45547280531761,"sku":"105019","price":10000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/105019_19980ffd-bcb4-4aa5-9e3a-0a1eca44acc2.jpg?v=1780624188"},{"product_id":"paul-strand-photographs-1915-to-1945-first-edition-inscribed-106543","title":"Paul Strand: Photographs 1915-1945","description":"\u003ch4 class=\"srb-faux-head\"\u003epresentation copy\u003c\/h4\u003eOne of the most influential photographers of the twentieth century, Paul Strand (1890-1976) was born in New York City and went on to study under Lewis W. Hine before becoming a commercial photographer in 1912, following Alfred Stieglitz in his commitment to 'straight' photography. In 1933 he was appointed chief of photography and cinematography in the Secretariat of Education in Mexico. After 1942 he concentrated on still photography for his records of life in many parts of the world. \u003cbr\u003e\u003cbr\u003eThis presentation copy is inscribed by the artist and musician Chenoweth Hall to Susan Thompson dated 1947, and further inscribed by Paul Strand, 'with many warm memories of friendship'.\u003cbr\u003e\u003cbr\u003eFirst edition, inscribed by the photographer; 4to, (26 x 19.8 cm); numerous black and white photographic illustrations; publisher's printed green cloth, pictorial dust jacket, small chip to top of spine and top of rear panel, overall a very good copy; 32pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"STRAND, Paul.","offers":[{"title":"Default Title","offer_id":45547329913137,"sku":"106543","price":1250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/106543_9a380df7-fb6b-4f65-a8b4-05e68cc5a988.jpg?v=1780615598"},{"product_id":"robert-doisneau-certain-robert-doisneau-1990-first-edition-inscribed-106685","title":"Un Certain Robert Doisneau.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eWith the legendary photographer's signed presentation inscription to a fellow photographer, incorporating the printed half title, '[Un Certain Robert Doisneau] transforme un certain David Gamble en receleur car toutes ces images ont ete volees au hasard des rencontres. En toute complicite Robert Doisneau Avril 1990'.\u003cbr\u003e\u003cbr\u003eFirst edition, first printing, inscribed by the photographer; 4to; Publisher's black boards, titles to upper board and spine in white. With the dust jacket. A superb copy in the dust jacket.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"DOISNEAU, Robert.","offers":[{"title":"Default Title","offer_id":45547342790961,"sku":"106685","price":675.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/106685_3c130563-37ab-4c78-8d06-29c40a30e609.jpg?v=1780616731"},{"product_id":"lee-friedlander-at-work-2002-signed-108298","title":"Lee Friedlander at Work.","description":"\u003ch4 class=\"srb-faux-head\"\u003esigned by Lee Friedlander\u003c\/h4\u003eA near-fine copy in the original dustjacket, signed by Friedlander on the half-title. With an afterword by Richard Benson.\u003cbr\u003e\u003cbr\u003eFirst edition, signed by Lee Friedlander; 4to; 193 black and white illustrations, many full-page; publisher's grey cloth, green lettering to spine, title blindstamped to upper cover, orange endpapers, with the original pictorial dust-jacket; a near-fine example.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"FRIEDLANDER, Lee; BENSON, Richard.","offers":[{"title":"Default Title","offer_id":45547509809457,"sku":"108298","price":250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/108298_189325f3-0cd0-4287-a13a-fc2283fcd1fd.jpg?v=1780628725"},{"product_id":"bailey-rankin-2003-limited-edition-signed-108902","title":"Bailey + Rankin.","description":"\u003ch4 class=\"srb-faux-head\"\u003eone of 500 copies - signed by the photographers\u003c\/h4\u003eNumber 100 of 500 copies, signed by the photographers. \u003cbr\u003e\u003cbr\u003eFeaturing 42 previously unpublished images from the highly controversial Proud Galleries show 'Down Under' (1st May 2003), Bailey + Rankin brings together a stunning collection of erotic photographs - all showcasing female anatomy at its most intimate - from two of Britain's most notorious photographers. This is one of Bailey's scarcest publications, seldom found with the two prints.\u003cbr\u003e\u003cbr\u003eFirst edition, first printing, number 100 of 500 copies, signed by the photographers; folio (48.5 x 34.6 cm); full-page explicit photographic illustrations throughout in tritone and full-colour, photographic print included in first free page of each section, held in place by slits, 4pp of text at the end of each section; original photographic boards bound in dos-à-dos style (one side for Rankin, the other for Bailey), housed in patterned perspex slipcase; a fine example.  \u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"BAILEY, David \u0026 RANKIN.","offers":[{"title":"Default Title","offer_id":45547588845873,"sku":"108902","price":6500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/108902_12c97ffc-6b5a-4599-b611-6d981e498442.jpg?v=1780622860"},{"product_id":"peter-beard-last-words-from-paradise-1979-110702","title":"[Last Words From Paradise]","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eLast Words from Paradise was edited by Marvin Israel and Shoji Yamagishi, and was published to coincide with an exhibition at the Seibu Museum of Art, Tokyo in 1979.\u003cbr\u003e\u003cbr\u003eFirst edition; 4to (257 x 210 mm, 10 x 8¼ in); black-and-white photographs printed in offset; original printed laminated paper-covered boards, minor spotting, photo-illustrated dust-jacket, spotted, very good copy; [92]pp (two folding).\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"BEARD, Peter.","offers":[{"title":"Default Title","offer_id":47776320487729,"sku":"110702","price":300.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/110702_8dd644c9-5c16-4ff9-a376-1fc9bc526d04.jpg?v=1780615658"},{"product_id":"rene-groebli-magie-der-schiene-1949-first-edition-110778","title":"Magie der Schiene [Magic of the Tracks]...","description":"\u003ch4 class=\"srb-faux-head\"\u003esigned by the author\u003c\/h4\u003eMagie der Schiene is a landmark book in postwar Swiss photography and design, with a format loosely modelled on Man Ray and Paul Eluard's Facile (1935). In 1949, Groebli travelled from his native Switzerland to France, where he met with his compatriot Robert Frank in Paris. He began this series whilst taking photographs in Gare de l'est. Subsequently, he gained permission from the Société nationale des chemins de fer français (SNCF) to photograph at railway stations, on railroad tracks, and commuter trains. When he returned to Switzerland, he was allowed to travel the entire route of his return ticket from Paris to Basel in the driver's cabin of an express locomotive. When Groebli self-published Magie der Schiene, the magic of steam-powered rail travel was already heavily loaded with nostalgia, rapidly being replaced by trains powered by electricity, the automobile, and air travel. \u003cbr\u003e\u003cbr\u003eThe total edition was 1000 copies, 700 in German and 300 in English. Magie der Schiene was originally published without a wraparound band, but Groebli produced a small number shortly after publication. In the mid-2000s, as interest in the work increased, he made a facsimile band, which he placed on those copies he still had in his possession.\u003cbr\u003e\u003cbr\u003eFirst edition, number 365 of 700 copies, signed in green ink on colophon; small folio (246 x 182 mm, 9¾ x 7¼ in); 14 black-and-white photographs printed in gravure, poem by Albert Ehrismann, afterword by Hans Ulrich Gasser; 8 numbered bifolium leaves, loose in photo-illustrated card covers, minor toning to spine and rear with light rubbing, near-fine; [32]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eRegards 93; The Photobook: A History, I p204; The Open Book pp152-3; Auer p335; Eyes on Paris pp206-207; Swiss Photobooks from 1927 to the Present pp162-171.\u003c\/i\u003e","brand":"GROEBLI, Rene.","offers":[{"title":"Default Title","offer_id":47792663822641,"sku":"110778","price":800.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/110778.jpg?v=1780616613"},{"product_id":"kelly-wise-lotte-jacobi-1978-deluxe-einstein-110779","title":"Lotte Jacobi.","description":"\u003ch4 class=\"srb-faux-head\"\u003ewith Jacobi's signed portrait of Albert Einstein\u003c\/h4\u003eDeluxe issue, with the often missing original photograph, 'Albert Einstein, Physicist, Princeton, NJ., 1938'. \u003cbr\u003e\u003cbr\u003eLotte Jacobi (1896-1990) was responsible for some of the most striking and enduring photographic portraits of the twentieth century. Her style, characterized by experimentation with unusual perspectives, cropped heads, and high or low angles, places her work in line with the Neue Sachlichkiet (New Objectivity) school of German photography. She was the fourth generation of her family to take up photography, following an apprenticeship with her father, she took over the 'Jacobi Studio of Photography' in Berlin. Between 1927 and 1935, she photographed many prominent figures from the arts and sciences, including Bertolt Brecht, Peter Lorre, Käthe Kollwitz, and Kurt Weill. John Heartfield was a customer of the studio from 1929 – 1932, and Jacobi made photographs for Heartfield's montages and book covers.\u003cbr\u003e\u003cbr\u003eAfter 1933, Jacobi concealed her Jewish identity by working under various pseudonyms, and in 1935, she immigrated to New York City, where she re-established a studio and successfully resumed her career. In 1938, she was the first woman to photograph on the floor of the New York Stock Exchange; her picture of the deserted floor was one of many of published in the New York Herald Tribune. Despite efforts to retrieve her archive, much of Jacobi's early work was lost when she left Germany.\u003cbr\u003e\u003cbr\u003eFirst edition, number 86 of 125 copies signed and numbered by Jacobi on the half-title, with a gelatin silver photograph laid in (250 x 187 mm, 9¾ x 7¼ in, printed c.1978) signed in pencil in lower right of image, small area of mirroring in lower left quadrant; 4to (284 x 252 mm, 11¼ x 10 in); black-and-white photographs by Lotte Jacobi, printed in gravure; white cloth-covered boards, spine and front stamped in brown, publisher's cloth-covered dropback box, spine very lightly toned, with title-label on front, near-fine; 187, [5] pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"JACOBI, Lotte; WISE, Kelly (editor).","offers":[{"title":"Default Title","offer_id":47792664543537,"sku":"110779","price":2750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/110779.jpg?v=1780628448"},{"product_id":"bruce-weber-o-rio-de-janeiro-1986-first-110696","title":"O Rio de Janeiro \/ A Photographic Journal by...","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eBruce Weber's elegant paean to Rio interweaves portraits, still life, and landscape photographs with an extended study of Brazillian Jiu-Jitsu champion Rickson Gracie, whose father Helio was one of four brothers who opened the first Jiu-Jitsu academy in Brazil. Carlos, the eldest brother, had learnt the martial art from Esai Maeda, who had emigrated from Japan to Brazil in 1914.\u003cbr\u003e\u003cbr\u003eFirst edition; 4to (367 x 281 mm, 14½ x 11 in); 130 black-and-white and colour photographs by Bruce Weber, drawings by Richard Giglio, printed in offset, designed by Sam Shahid, Rïse Daniels, and Donald Sterzin; photo-illustrated adhesive-bound card covers, near-fine; [196]pp (incl. 4 folding).\u003cbr\u003e\u003cbr\u003e\u003ci\u003eThe Book of 101 Books pp254-5.\u003c\/i\u003e","brand":"WEBER, Bruce.","offers":[{"title":"Default Title","offer_id":47792665100593,"sku":"110696","price":600.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/110696_b475758a-d854-454e-9f65-64dca3dd6166.jpg?v=1780623618"},{"product_id":"eikoh-hosoe-barakei-ordeal-by-roses-1971-110931","title":"Barakei Shishuban [Ordeal by Roses Reedited].","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eTadanori Yokoo designed this revised and reimagined version of Barakei. Unhappy with the original translation, 'Killed by Roses,' Mishima Yukio changed the title to reflect the original Japanese more accurately. The design varies significantly from that of the first book. Working closely with Hosoe and Mishima, Yokoo completely restructured the sequence into five chapters: I. Sea \u0026amp; Eyes, 2. Eyes \u0026amp; Sins, III. Sins \u0026amp; Dreams, iv. Dreams \u0026amp; Death, and ending with V. Death.\u003cbr\u003e\u003cbr\u003eIn November 1970, Mishima committed seppuku, a ritual form of suicide, as a protest against the signing of an extension to the US-Japan security treaty and the loss of traditional Japanese values. Speculation leads to other assumptions about his motives, having initially planned for Ordeal by Roses to be published in the month he died. At first, Hosoe delayed the book's publication and considered shelving the project, but Mishima's widow persuaded him to go ahead a few months later.\u003cbr\u003e\u003cbr\u003eFirst edition, oblong folio (378 x 529 mm, 15 x 20¾); black-and-white photographs by Hosoe and colour illustrations by Tadanori Yokoo printed in offset, the original and a new preface for this edition by Yukio Mishima in Japanese and English, design by Yokoo, printed metal plate mounted on the first page, tissue guard; black velvet-covered boards, colour illustrated plate mounted on front, original white cloth-covered board chemise, lettered in red on upper side, lined with an illustration on paper, toned, publisher's shipping carton with a printed label on front, light wear to extremities, label lightly toned, a fine copy in a very good chemise and shipping carton; [102]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eThe Open Book pp276-7; The Photobook A History, I pp282-3; The Japanese Photobook 1912-1990 pp408-9.\u003c\/i\u003e","brand":"HOSOE, Eikoh.","offers":[{"title":"Default Title","offer_id":47797019214129,"sku":"110931","price":2750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/110931_f5cacc5d-7d09-4e5a-b827-2f642ffb04af.jpg?v=1780625059"},{"product_id":"edward-weston-50-photographs-1947-first-edition-110925","title":"50 Photographs...","description":"\u003ch4 class=\"srb-faux-head\"\u003eone of 1500 copies initialled by Edward Weston\u003c\/h4\u003eEdward Weston selected these fifty photographs himself, 'fifty of my favorite photographs chosen because they have lived well and because they have not been reproduced... in book form before... a well balanced selection from various periods and approaches, and from a wide range of subject matter.' It includes all of the genres in which Weston worked: landscapes, nudes, still lifes, and portraits, and ends with a portrait of Weston taken by his son Cole in Point Lobos in 1946.\u003cbr\u003e\u003cbr\u003eFirst edition, number 1064 of 1500 copies initialled by Edward Weston on a slip of paper mounted on the justification leaf, as issued; 4to (304 x 233 mm, 12 x 9 ¼ in); black-and-white photographs printed in offset, texts by Merle Armitage, Donald Baer, and Robinson Jeffers, design by Merle Armitage, minor toning to edges; cloth-backed printed paper-covered boards, titles stamped to spine in silver, bottom edges of boards rubbed, spine leaning, printed dust-jacket, toned, lightly worn, small chip to top edge and to head and foot of spine, a couple of short tears, split to upper panel strengthened on verso, a very good copy; [xxii], 16, [112].\u003cbr\u003e\u003cbr\u003e\u003ci\u003eThe Book of 101 Books pp128-131; The Open Book pp150-151.\u003c\/i\u003e","brand":"WESTON, Edward.","offers":[{"title":"Default Title","offer_id":47797906014513,"sku":"110925","price":750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/110925.jpg?v=1780625031"},{"product_id":"elsken-love-on-the-left-bank-1956-first-110933","title":"Een Liefdesgeschiedenis in Saint Germain des Prés [Love on the Left Bank].","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eWhilst living in Paris between 1950 and 1954, van der Elsken quickly fell for the attractions of Saint Germain des Prés and the people he found there. He spent most of his time photographing these new friends in cafés, paying particular attention to a kohl-eyed Australian girl named Vali Meyers, his sometime girlfriend.\u003cbr\u003e\u003cbr\u003eWhen Edward Steichen, who was in Europe at the time collecting photographs for his Family of Man exhibition, saw van der Elsken's photographs, he suggested that the photographer sequence them into a fictional narrative (beeldroman \/ photonovel). Van der Elsken took Steichen's advice and developed a story revolving around Anne (Vali Meyers) and a Mexican student named Manuel, who is in love with her. Van der Elsken's stream-of-consciousness style was an important influence on post-war European and Japanese photographers. This visual record of life on the left bank set a precedent for later generations of photographers, such as Christer Stromholm, Nobuyoshi Araki, and Nan Goldin, who would all work in a similarly diaristic way.\u003cbr\u003e\u003cbr\u003eFirst edition; 8vo (263 x 190 mm, 10¼ x 7½ in); black-and-white photographs printed in offset, design by Juriaan Schrofer, minor toning to margins; black paper-covered boards, leaning, photo-llustrated dust-jacket, wear and creasing to extremities, several nicks some strengthened with tape on verso, a very good copy; [112]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003ePhotography Between Covers pp92-3; Regards 113; The Book of 101 Books pp146-7; The Photobook A History, I p245; The Open Book p168; 802 Books from the Auer Collection p363; Eyes on Paris pp278-281; The Dutch Photobook 48-49\u003c\/i\u003e","brand":"ELSKEN, Ed van der.","offers":[{"title":"Default Title","offer_id":47797906145585,"sku":"110933","price":375.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/110933.jpg?v=1780625089"},{"product_id":"engstrom-trying-to-dance-2003-first-edition-111002","title":"Trying to Dance.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eJ.H. Engström took these photographs in several European and American cities, though predominantly in his native Sweden and New York, where he moved in 1998. Autobiographical in tone, he interweaves nude portraits of people we assume are his friends or lovers, self-portraits, landscapes and interior views, many of which feature unmade beds. Gerry Badger places Engström 'in the vanguard of a new genre that depicts a veiled, oblique, almost novelistic view of modern life, especially modern relationships, apparently offering frankness and disclosure yet remaining extremely guarded.'\u003cbr\u003e\u003cbr\u003eFirst edition; 4to (304 x 238 mm, 12 x 9¼ in); colour and black-and-white photographs, toning to edges; black cloth-covered boards, titles stamped in white on spine and sides, colour photographic reproduction mounted to front, minor rubbing to rear, bottom corner tapped, near-fine; [144]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eThe Photobook A History, II pp322-3; Martin Parr's Best Books of the Decade pp12-13, p70.\u003c\/i\u003e","brand":"ENGSTROM, J. H.","offers":[{"title":"Default Title","offer_id":47829017198897,"sku":"111002","price":375.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111002_ee568934-bbcf-499e-801d-ed4f6c3c6720.jpg?v=1780625119"},{"product_id":"coburn-men-of-mark-1913-first-edition-111050","title":"Men of Mark.","description":"\u003ch4 class=\"srb-faux-head\"\u003ewith the scarce dust-jacket\u003c\/h4\u003eAlvin Langdon Coburn began gathering these portraits in 1904 when, shortly before sailing to London, he asked Perrirton Maxwell, editor of the Metropolitan Magazine of New York, for a list of authors and artists to photograph during his visit. Coburn's first sitter was George Bernard Shaw, who was particularly helpful in making introductions to potential subjects on Coburn's behalf, and the two became friends. Other sitters include Frank Brangwyn, H. G. Wells, Auguste Rodin, Henry James, Arthur Symons, Theodore Roosevelt, W. B Yeats, Mark Twain, Clarence H. White, Roger Fry, and Henri Matisse. The portraits are reproduced chronologically, the photogravures printed under Coburn's supervision on his own press. The day, month, and year for each sitter are included in the index, with Coburn insisting that these facts added a 'very considerable interest to a portrait considered as a \"human document.\"'\u003cbr\u003e\u003cbr\u003eFirst edition; 4to (304 x 238 mm, 12 x 9¼ in); 33 tipped-in photogravures from plates prepared by Coburn, with the subject's facsimile signatures in the margins, light spotting and cockling to top edge, guards toned, occasional light wear, one with a short tear; endpapers browned, linen-backed grey cloth, titles to the front in gilt; printed dust-jacket, toned, spine slightly darkened, rubbing to lower panel, edges chipped, a near-fine copy in a very good example of the scarce dust-jacket; 29, [1], [66]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eThe Truthful Lens 37; Imagining Paradise p236.\u003c\/i\u003e","brand":"COBURN, Alvin Langdon.","offers":[{"title":"Default Title","offer_id":47829017428273,"sku":"111050","price":2750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111050_f9625721-9b84-46aa-a253-35ed5db464d1.jpg?v=1780624187"},{"product_id":"paul-strand-claude-roy-france-profil-first-edition-111100","title":"La France de Profil.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003ePaul Strand moved to France in 1950, aged 60, largely to escape McCarthyism, which was prevailing in America. He had initially intended to locate what he felt to be the perfect French village or small town, then photograph it in depth, and proceeded to travel and photograph throughout France. However, he didn't manage to settle on any one community, so instead, Strand collaborated with the writer Claude Roy to make a composite portrait of France and the French people using the photographs he made in the hundreds of locations he had visited. La France de Profil follows themes consistent throughout Strand's career: the dignity of ordinary people, their relationship with nature, the necessity of work and labour, and ultimately, their mortality.\u003cbr\u003e\u003cbr\u003eIn a later essay, Roy wrote, 'Strand did not try to rediscover or renew France's image through the artful tricks and inventions of his craft. He simply tried to penetrate it by descending into the country's taciturn depths with the unhurried docility of a pebble making its inevitable way to the bottom of a well.'\u003cbr\u003e\u003cbr\u003eFirst edition, first impression; 4to (280 x 218 mm, 11 x 8½ in); black-and-white photographs printed in gravure; flexible card boards, publisher's photo-illustrated wrappers affixed to spine as issued, without the glassine, ownership name to front free endpaper, spine a little creased, and with minute loss at the ends; very good indeed; 121, [7]pp (one gatefold).\u003cbr\u003e\u003cbr\u003e\u003ci\u003eThe Book of 101 Books pp136-137.\u003c\/i\u003e","brand":"STRAND, Paul \u0026 Claude Roy.","offers":[{"title":"Default Title","offer_id":47861124661553,"sku":"111100","price":200.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111100.jpg?v=1780615596"},{"product_id":"cor-jaring-amsterdam-inscribed-to-james-baldwin-1969-111110","title":"Amsterdam.","description":"\u003ch4 class=\"srb-faux-head\"\u003einscribed to James Baldwin\u003c\/h4\u003ePresentation copy of Cor Jaring's book of photographs showing the various subcultures, protests, and happenings in Amsterdam during the 1960s, inscribed: 'For James Baldwin, with great respect \/ Cor, Paris 1969'.\u003cbr\u003e\u003cbr\u003eIn 1948, James Baldwin, aged 24, left New York and moved to Paris. In the spring of 1984, during an interview for The Paris Review, Baldwin was asked why he had chosen to live in France, to which he replied: 'It wasn't so much a matter of choosing France – it was a matter of getting out of America.' Disillusioned with the prejudices he faced, Baldwin feared that he would not have survived should he have stayed and certainly could not sufficiently isolate himself to focus on writing. In New York, the eldest of nine children, he worked several jobs to provide for his family. Baldwin spent nine years living in Paris, returning to the United States in 1957 as the Civil Rights Movement gained momentum. He returned to France in 1970, first to Paris, then settling in Saint-Paul-de-Vence.\u003cbr\u003e\u003cbr\u003eFirst edition, inscribed to James Baldwin; 4to (279 x 210 mm, 11 x 8¼ in); black-and-white photographs printed in offset, text in Dutch, German, French, and English, light toning to edges; photo-illustrated paper-covered boards, light wear to extremities, laminate lifting at joints, publisher's printed orange wraparound band, a very good copy; 126, [2]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"JARING, Cor.","offers":[{"title":"Default Title","offer_id":47861124923697,"sku":"111110","price":750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111110_a49b0aeb-d96d-4867-ac1e-c9e1deb91f36.jpg?v=1780624253"},{"product_id":"koen-wessing-chili-september-1973-first-edition-111140","title":"Chili September 1973.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eOn September 11 1973, with the support of the CIA, General Augusto Pinochet headed a coup d'état, which successfully overthrew the democratically elected government of President Salvador Allende. Wessing, a former assistant of Ed van der Elsken and Ato Kando, took the first plane he could board to Chile and took these photographs in the immediate aftermath.\u003cbr\u003e\u003cbr\u003eOn his return to the Netherlands, Wessing assembled a book dummy and contacted Geert Lubberhuizen, who had started a publishing house in 1943 as a clandestine operation during the German occupation. De Bezige Bij became the publisher of choice for the most influential authors in the Netherlands, and Lubberhuizen, having noticed the impact of the photographs in the press, immediately set to work publishing the book. Chili September 1973 was issued exactly as Wessing had envisaged, with no introductory text or captions, perhaps only a month after the coup.\u003cbr\u003e\u003cbr\u003eFirst edition; 4to (247 x 200 mm, 9¾ x 7¾ in); black-and-white photographs printed in offset; tan printed wire stitched wrappers, toning and light stain to covers, slight vertical cockling, light wear along spine, a very good copy; [48]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003ePhotography Between Covers pp117-9; The Photobook A History I, p229; 802 photo books from the M + M Auer collection p562; The Dutch Photobook pp124-5; Errata Editions: Books on Books no.8.\u003c\/i\u003e","brand":"WESSING, Koen.","offers":[{"title":"Default Title","offer_id":47891491684657,"sku":"111140","price":400.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111140_6e5f1700-cda4-425a-b13d-b3ba350ba631.jpg?v=1780628536"},{"product_id":"dave-heath-dialogue-with-solitude-1965-presentation-copy-111117","title":"A Dialogue with Solitude.","description":"\u003ch4 class=\"srb-faux-head\"\u003einscribed to Hilary Gerrard\u003c\/h4\u003ePresentation copy inscribed to Hilary Gerrard, Ringo Starr's manager for over thirty years and a director of the Beatles company Apple Corps.: 'To Hilary – \/ with warm regards, in appreciation \/ of your regard for my work – \/ Dave Heath'.\u003cbr\u003e\u003cbr\u003eDave Heath's reputation largely rests on this book, in which he reflects and responds to the alienation that was particularly prevalent in post-war North American society. It was published in 1965, but most of the photographs were taken earlier, including several that he made in Korea in 1953 while serving in the US Army. Heath briefly studied at the Art Institute of Chicago and was strongly influenced by W. Eugene Smith, dedicating A Dialogue with Solitude to him.\u003cbr\u003e\u003cbr\u003eFirst edition, presentation copy inscribed in black ink on title-page; 4to (280 x 210 mm, 11 8¼ in); black-and-white photographs printed in offset, foreword by Huw Edwards, several literary quotes, preface and design by Dave Heath, minor toning to edges; tan cloth-covered boards, titles stamped to spine in brown, photo-illustrated dust-jacket, white, text in black, light rubbing and toning, light wear to extremities, near-fine in a very good dust-jacket; [100]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eThe Photobook A History, ll p104.\u003c\/i\u003e","brand":"HEATH, Dave.","offers":[{"title":"Default Title","offer_id":47897480888625,"sku":"111117","price":1250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111117.jpg?v=1780624438"},{"product_id":"philip-jones-griffiths-vietnam-inc-presentation-copy-1971-111118","title":"Vietnam Inc.","description":"\u003ch4 class=\"srb-faux-head\"\u003epresentation copy inscribed to Hilary Gerrard\u003c\/h4\u003epresentation copy inscribed to Hilary Gerrard, Ringo Starr's manager for over thirty years and a director of the Beatles company Apple Corps.: For Hilary \/ with Love! \/ Philip Jones Griffiths \/ London 1971'. Hilary Gerrard was involved in the production of Agent Orange (2003), Philip Jones Griffiths' follow up to Vietnam Inc.\u003cbr\u003e\u003cbr\u003ePhilip Jones Griffiths photographed the conflict in Vietnam over three years, emphasising the unequal relationship between humanity and technology and contrasting the lives of Vietnamese civilians with the increasingly mechanised American war effort. As he explained, 'This book is not intended to be a list of the tactics which failed, compiled for the purpose of overcoming the deficiencies and ensuring success next time. The American miscalculations made in Vietnam are overshadowed by and stem from the folly of the original view that deemed it possible for a society like America's to impose itself on that of the Vietnamese. This view was based on an ignorance that later frustrated progress and prompted recourse to the asset America has in abundance - the tools of destruction.'\u003cbr\u003e\u003cbr\u003eFirst edition, presentation copy inscribed on the title-page; 4to (278 x 201 mm, 11 x 8 in); black-and-white photographs, text, and design by Philip Jones Griffiths printed in offset; photo-illustrated adhesive-bound wrappers, soft crease to rear cover, original price sticker, near-fine; 221, [3]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eThe Open Book p274; The Photobook A History, II pp250-1.\u003c\/i\u003e","brand":"GRIFFITHS, Philip Jones.","offers":[{"title":"Default Title","offer_id":47897480954161,"sku":"111118","price":875.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111118.jpg?v=1780615741"},{"product_id":"van-der-elsken-once-upon-a-time-japanese-111162","title":"Once Upon a Time.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eEd van der Elsken spent three months in Japan during a 14-month trip through Asia, Africa, and America between 1960 and 1961, during which he took the photographs later published in his book Sweet Life (1966). While in Japan, van der Elsken met with many photographers and had a lasting influence on them. Once Upon a Time contains work from throughout his career, including Sweet Life, Een Liefdesgeschiedenis in Saint Germain des Prés [Love on the Left Bank] (1956), and Bagara (1958).\u003cbr\u003e\u003cbr\u003eFirst Japanese edition; 4to (300 x 293 mm, 11¾ x 11½ in); black-and-white and colour photographs; black cloth-covered boards, titles stamped in black to spine and front, darkening along hinges from binder's glue, photo-illustrated dust-jacket, whites and orange, titles stamped in black, minor toning, minor wear to extremities, publisher's cardboard slipcase with photo-illustrated title label, light rubbing and wear along edges of spine, near-fine in a very good slipcase; 212, [4], 59, [1]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"ELSKEN, Ed van der.","offers":[{"title":"Default Title","offer_id":47918186823985,"sku":"111162","price":175.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111162_d65aab18-47cc-4901-9e32-b42337a2ca71.jpg?v=1780618249"},{"product_id":"robert-frank-flower-is-1987-first-edition-111195","title":"Flower Is.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eFlower Is contains three bodies of work: photographs taken in Paris of flowers, flower sellers, and chance encounters on the street, the River Rouge car factory in Detroit, and polaroids made in Mabou Mines, Nova Scotia. It is the second of three books Frank made with Motomura Kazuhiko, a collector of photographs and photography books and occasional publisher, each designed by Sugiura Kohei.\u003cbr\u003e\u003cbr\u003e'By 1949 I had lived in New York City for two years. When I returned to Paris, I was 26. The beauty of that city touched me... Returning to America I began to look at Americans... and began to photograph the city and factory which produced the American car. The summer of 1955 was hot and after two days at the River Rouge Plant in Detroit I was told to leave the factory. I travelled south and was astonished to see black people treated as inferiors. I experienced the suspicion against anything not \"American\". I was learning about American determination to win... Flowers of Paris is memory... After the publication of The Americans in 1959, a slow fade begins. Filmmaking replaces the single frame photograph!'\u003cbr\u003e\u003cbr\u003eFirst edition of 500 copies; folio (342 x 251 mm, 13½ x 10 in); black-and-white photographs printed in offset, design by Sugiura Kohei and Sato Atsushi, occasional light dust speckle marks spotted out by hand by Motomura; grey silk-covered boards, titles stamped in dark grey on spine and upper side, publisher's grey paper-covered board slipcase with titles stamped in dark grey on spine, original shipping carton, fine; [112]pp.su\u003cbr\u003e\u003cbr\u003e\u003ci\u003eThe Photobook: A History I, p264; Auer Collection p670.\u003c\/i\u003e","brand":"FRANK, Robert.","offers":[{"title":"Default Title","offer_id":47936473137457,"sku":"111195","price":4000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111195_a9861e44-0fca-4e51-afe3-f29b3292bc87.jpg?v=1780616734"},{"product_id":"nobuyoshi-araki-sentimental-journey-first-edition-1971-110757","title":"Senchimentaru na Tabi [Sentimental Journey].","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eSentimental Journey is Araki Nobuyoshi's signature work, one of the key photography books of the twentieth century. It comprises photographs made whilst 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 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 is the first of a loose trilogy of privately printed books, followed by Okinawa: Sentimental Journey Continued (1971) and Tokyo (1973).\u003cbr\u003e\u003cbr\u003eFirst edition; 4to (238 x 238 mm, 91\/4 x 9 1\/4 in); black-and-white photographs; side-stapled with photo-illustrated card covers, white and black, light wear and soiling, faint stains to rear, foot bumped, a very good copy without the leaf of green paper subsequently added shortly after publication at a bookshop's request; [108]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eRoth, Provoke pp11-12; Roth, The Book of 101 Books: Seminal Photographic Books of the Twentieth Century pp206-7; Parr\/Badger, The Photobook: A History, I p295; Roth, The Open Book: A History of the Photographic Book from 1878 to the Present pp268-9; 802 photo books from the Auer collection p527; Araki: Self, Life, Death p694; A Book of Araki Books! 1970-2005 pp38-45; Japanese Photobooks of the 1960s and '70s pp108-115; Japanese Photobooks 1912-1990 pp406-407.\u003c\/i\u003e","brand":"ARAKI, Nobuyoshi.","offers":[{"title":"Default Title","offer_id":47945184444721,"sku":"110757","price":5000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/110757.jpg?v=1780615314"},{"product_id":"araki-nobuyoshi-sentimental-journey-winter-journey-1991-111202","title":"Senchimentaru na tabi fuyu no tabi [Sentimental Journey, Winter Journey].","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eSentimental Journey, Winter Journey consists of two parts, starting with a selection from Sentimental Journey (1971), photographs Araki took on honeymoon with his wife, Yoko. The remainder of the book documents the last six months of Yoko's life, beginning with a photograph taken on her birthday, May 17 1989. These photographs include moments between hospital visits and end with Yoko's funeral. Araki and Yoko's cat Chiro features prominently, and the final four photographs, taken on the day of the funeral, show Chiro in their apartment, staring out of the window and jumping outside in the snow.\u003cbr\u003e\u003cbr\u003eFirst edition; oblong 8vo (182 x 252 mm, 7¼ x 10 in); black-and-white photographs printed in offset, design by Suzuki Seiichi; plain endpapers, red cloth-covered boards spine stamped in black, lower board in clear foil, publisher's illustrated slipcase, fine, publisher's ephemera laid in, fine; [124]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eSelf Life Death p698; A Book of Araki Books! pp176-181.\u003c\/i\u003e","brand":"ARAKI, Nobuyoshi.","offers":[{"title":"Default Title","offer_id":47945184641329,"sku":"111202","price":375.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111202.jpg?v=1780622492"},{"product_id":"tomatsu-shomei-11-02-nagasaki-1966-first-edition-111161","title":"11-ji 02-fun (11:02) Nagasaki.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eIn 1961, Shomei Tomatsu began a series of close-up photographs of objects found at the explosion site at Nagasaki. These include a watch, stopped at precisely 11:02, a headless statue, and a warped glass bottle that serves as a horrific metaphor for all of the mined bodies and lost lives. \u003cbr\u003e\u003cbr\u003eTomatsa had initially intended for 11:02 Nagasaki to be the first in a series of four separate books, the others being Osorezan: Countryside Politicians, Homes, Asphalt, and Occupation. However, sales of 11:02 Nagasaki were poor, and the publisher, Shashin Dojinsha, collapsed soon after its publication. The remaining three volumes were never realised individually, but Tomatsu subsequently formed his own publishing company called Shaken, and in 1967, he published Nihon, which included photographs from these series. In 1968, he took the remaining unsold copies of 11:02 Nagasaki, changed the copyright page, and placed a sticker bearing the new publisher's name on the spine.\u003cbr\u003e\u003cbr\u003eFirst edition, author's hanko stamp; 4to (221 x 189 mm, 8¾ x 7½ in); black-and-white photographs printed in sheet-fed gravure, text by Tamaki Motoi and interviews with survivors; photo-illustrated paper-covered boards, minor foxing, light toning to spine, original printed cardboard slipcase, lightly worn, publisher's brown printed insert laid in, without the acetate, near-fine; [172]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eThe Photobook A History, I pp274-7; The Open Book 226-7; Auer Collection p454; The Japanese Photobook 1912-1990 p380.\u003c\/i\u003e","brand":"TOMATSU, Shomei.","offers":[{"title":"Default Title","offer_id":47946848469297,"sku":"111161","price":1250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111161_fd204a1f-d586-4b85-8935-2048fed5c3f0.jpg?v=1780618105"},{"product_id":"viviane-sassen-flamboya-2008-first-edition-110793","title":"Flamboya.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eViviane Sassen was born in Amsterdam but lived in a Kenyan village from the ages of two to five while her father worked at a hospital. Flamboya contains photographs she made in Africa between 2003 and 2006. In a short text accompanying an exhibition featuring this work, she wrote:\u003cbr\u003e'Flamboya' refers to the 'Flamboyant' tree which blossoms in December and spatters the landscape across East and South Africa with countless deep red-and-orange flowers. Yet, maybe this name constitutes the sole remaining concession and reference to an exotic image of Africa in the history of a body of work that otherwise helps challenging this enduring conception. Shot in Kenya, Uganda, Tanzania and Zambia, the Flamboya photographs are an attempt to recapture my childhood years in Africa, yet they also pose implicit fundamental questions about image, bias and the constraints of the photographic medium.'\u003cbr\u003e\u003cbr\u003eFirst edition; 4to (300 x 240 mmm, 11¾ x 9½ in); colour photographs, short story by Moses Isegawa, essay by Edo Dijksterhuis, design by SYB; photo-illustrated paper-covered boards, strip of binder's adhesive showing through on front pastedown at gutter as usual with this title, a fine copy, scarce as such; [98]pp (many pages are two-thirds in width).\u003cbr\u003e\u003cbr\u003e\u003ci\u003eMartin Parr's Best Books of the Decade pp48-9, 88; The Dutch Photobook A Thematic Selection from 1945 onwards pp144-5; The Photobook A History, III p241.\u003c\/i\u003e","brand":"SASSEN, Viviane.","offers":[{"title":"Default Title","offer_id":47957864874289,"sku":"110793","price":875.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/110793_759cfde9-c5d7-43ce-9c73-ecce3a3410d8.jpg?v=1780618323"},{"product_id":"philip-jones-griffiths-dark-odyssey-presentation-copy-1996-111163","title":"Dark Odyssey.","description":"\u003ch4 class=\"srb-faux-head\"\u003epresentation copy inscribed to Hilary Gerrard\u003c\/h4\u003epresentation copy inscribed to Hilary Gerrard, Ringo Starr's manager for over thirty years and a director of the Beatles company Apple Corps.: For Hilary! \/ From Philip Jones Griffiths \/ Amsterdam 2003'.\u003cbr\u003e\u003cbr\u003eHilary Gerrard assisted with the production of a boxed special edition of Philip Jones Griffith's Agent Orange (2003) issued with a print.\u003cbr\u003e\u003cbr\u003eFirst edition, presentation copy inscribed in black ink on the half-title; 4to (330 x 238 mm, 13 x 9¼ in); black-and-white photographs printed in offset; photo-illustrated paper-covered boards, text in red and white, photo-illustrated dust-jacket, text in red and white, minor toning to spine and top edge, near-fine; [192]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"GRIFFITHS, Philip Jones.","offers":[{"title":"Default Title","offer_id":47957866479921,"sku":"111163","price":250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111163.jpg?v=1780615740"},{"product_id":"robert-frank-lines-of-my-hand-1972-lustrum-111191","title":"The Lines of My Hand.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eThis Lustrum Press edition follows the deluxe edition published earlier the same year in Japan by Motomura Kazuhiko. The Lustrum edition contains fewer images and employs a slightly different sequence. The Lines of My Hand is Frank's photographic autobiography, dedicated to his two children, Pablo and Andrea, 'who are trying to find a better way to live.' The photographs represent every stage of his work to the time of publishing. They are presented chronologically and selected less for their historic or aesthetic significance than their personal meaning to Frank.\u003cbr\u003e\u003cbr\u003eFirst American edition; 4to (304 x 238 mm, 12 x 9¼ in); black-and-white photographs, toning to edges; photo-illustrated adhesive-bound wrappers, toned, a very good copy; [112]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eThe Open Book pp288-9; 802 photo books from the M + M Auer collection, p545; Swiss Photobooks from 1927 to the present pp304-13, pp675-6\u003c\/i\u003e","brand":"FRANK, Robert.","offers":[{"title":"Default Title","offer_id":47957866610993,"sku":"111191","price":250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111191.jpg?v=1780616739"},{"product_id":"morinaga-jun-river-1978-first-edition-111196","title":"River, its shadow of shadows.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eMorinaga Jun was born in Nagasaki, where the atomic bomb killed his father and older sister. In 1960, the year he graduated from Nihon University College of Art, he began making abstract photographs of the pollution and decay along Tokyo's muddy rivers, continuing to work on the project over the following three years. The origin of this series is closely related to his memories of his father and sister, and these photographs became River, its shadow of shadows. Shortly after beginning this series, Morinaga met and showed his work to W. Eugene Smith, who was impressed and hired Morinaga to work as an assistant on a commission for Hitachi that would become Japan: Chapter of Image (1963). Morinaga's photographs of these Tokyo rivers foreshadow Smith's decision to document the catastrophic fallout from polluted waters in Minamata. \u003cbr\u003e\u003cbr\u003eSmith's initial living costs in Japan whilst working on the Minamata project were covered by Motomura Kazuhiko, publisher of Morinaga's River, its shadow of shadows and three books by Robert Frank. Motomura met and befriended Morinaga while studying at the Tokyo College of Photography. Through Morinaga, Motomura met W. Eugene Smith, and then he met Robert Frank through Smith as a favour in return for helping Smith with the Minamata work. Motomura was an important collector of photographs and photography books and a tireless champion of Japanese photographers, promoting their work and supporting their books and exhibitions.\u003cbr\u003e\u003cbr\u003eFirst edition; foilo (300 x 270 mm, 11¾ x 10¾ in); black-and-white photographs, texts by Miyabi Ichikawa, Koichi Tanigawa, Seigow Matsuoka, and Jun Morinaga in Japanese, text by W. Eugene Smith in Japanese and English, design by Kohei Sugiura and Hitoshi Suzuki, occasional light dust speckle marks spotted out by hand by Motomura; grey cloth-covered boards, titles stamped in white on spine and sides, publisher's photo-illustrated paper-covered board slipcase, minor wear to extremities, original shipping carton with staining to one side, fine; [170]pp (incl. 20 folding). \u003cbr\u003e\u003cbr\u003e\u003ci\u003eJapanese Photobooks of the 1960s and '70s pp218-21; The Japanese Photobook 1912-1990 48.\u003c\/i\u003e","brand":"MORINAGA, Jun.","offers":[{"title":"Default Title","offer_id":47957866774833,"sku":"111196","price":850.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111196.jpg?v=1780615041"},{"product_id":"christian-boltanski-10-portraits-signed-1972-first-edition-111221","title":"10 Portraits Photographiques de Christian Boltanski 1946-1964.","description":"\u003ch4 class=\"srb-faux-head\"\u003esigned\u003c\/h4\u003eSigned copy of this artists' book, which contains a series of portraits purportedly showing Christian Boltanski aged 2, 3, 5, 7, 9, 10, 11, 14, 17, and 20. Annette Messager took these photographs one afternoon in the Parc Montsouris in Paris when Boltanski enlisted strangers and friend's children to pose; Boltanski himself only features in the final portrait, but aged 28, not 20.\u003cbr\u003e\u003cbr\u003eFirst edition, one of 500 copies, signed on verso of the front wrapper; 8vo (210 x 134 mm, 8¼ x 5¼ in); black-and-white photographs printed in offset; white printed wire-stitched wrappers, printed in black, minor toning, rubbing, and handling marks, near-fine; [24]pp (incl. covers).\u003cbr\u003e\u003cbr\u003e\u003ci\u003eBoltanski Artists' Books pp26-7.\u003c\/i\u003e","brand":"BOLTANSKI, Christian.","offers":[{"title":"Default Title","offer_id":47957886042417,"sku":"111221","price":675.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111221.jpg?v=1780624067"},{"product_id":"nakahira-takuma-for-a-language-to-come-1970-111156","title":"Kitaru beki kotoba no tame ni [For a Language to Come].","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eNakahira Takuma was one of the founding members of Provoke, and For a Language to Come is one of the key post-war Japanese photobooks, marking the culmination of his involvement in the Provoke movement. The following year, he burned his early prints and negatives. Nakahira's work explored the complicated relations between photography and language and between art and political resistance in a way that galvanised a generation of photographers. \u003cbr\u003e\u003cbr\u003e'At its core, the collective aim of the Provoke photographers was to dismantle the idea that a photograph is inextricably a document, separating the photograph from its socially prescribed function as a record. In so doing, these photographers eliminated information, record, and especially narrative from their work to create \"pure\" images' (Japanese Photobooks of the 1960s and '70s p17).\u003cbr\u003e\u003cbr\u003eFirst edition; 4to (300 x 211 mm, 11¾ x 8¼ in); black-and-white photographs printed in gravure, texts by Nakahira Takuma and Okada Takahiko, design by Kimura Tsunehisa, minor spotting to edges; photo-illustrated wrappers, reading crease, head bumped, illustrated dust-jacket printed in blue, red, and black, light spotting to spine, rubbing from sleeve as usual, publisher's cardboard sleeve with label printed in black, yellow, and red mounted on upper side, wear to slipcase and label, a very good copy; 190, [2]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eThe Photobook: A History I, pp292-293; Japanese Photobooks of the 1960s and '70s pp130-135; Provoke: Between Protest and Performance 56 pp368-397; For a New World to Come: Experiments in Japanese Art and Photography 1968-1979 196; The Japanese Photobook 1912-1990 p351.\u003c\/i\u003e","brand":"NAKAHIRA, Takuma.","offers":[{"title":"Default Title","offer_id":47957893939505,"sku":"111156","price":2500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111156.jpg?v=1780615151"},{"product_id":"tomatsu-shomei-nippon-japan-1967-first-edition-111061","title":"Nihon [Japan].","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eNihon is concerned with Japan's post-war national identity. Tomatsu Shomei took most of the photographs between 1955 and 1967 while working for various publications. He had initially intended for the work published here to be issued in three separate books: 'Osorezan: Countryside Politicians', 'Homes, Asphalt', and 'Occupation', which were to follow 11:02 Nagasaki (1966). However, sales of 11:02 Nagasaki were poor, and the publisher, Shashin Dojinsha, collapsed soon after its publication. Tomatsu subsequently formed his own publishing company called Shaken to distribute the remaining copies of his Nagasaki book. In 1967, he published Nihon [Japan], which included photographs from the three previously proposed books divided into nine sections. Although many of the images had been previously published, in a text at the end, Tomatsu notes that in editing and sequencing this book, he has reframed some of the meaning in these photographs.\u003cbr\u003e\u003cbr\u003eFirst edition; 4to (219 x 190 mm, 8½ x 7½ in); black-and-white photographs printed in gravure, texts by Fukushima Tatsuo, Isozaki Arata, Taki Koji, edges toned; blue endpapers with small bookseller's ticket, silver cloth-covered boards, titles stamped in black on spine and on upper side in blind, publisher's plastic dust-jacket, chipped at top edge and head, spine toned, publisher's printed blue sheet laid in, near-fine in a very good dust-jacket; [200]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eAuer Collection p479; Japanese Photobooks of the 1960s and '70s pp94-101; Provoke: Between Protest and Performance 21 pp130-1; The Japanese Photobook 1912-1990 pp381.\u003c\/i\u003e","brand":"TOMATSU, Shomei.","offers":[{"title":"Default Title","offer_id":47999783567665,"sku":"111061","price":1250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111061.jpg?v=1780618107"},{"product_id":"tomatsu-shomei-pencil-of-the-sun-1975-first-111217","title":"Taiyo no enpitsu... \/ The Pencil of the Sun, Okinawa \u0026 S.E. Asia.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eTomatsu Shomei first visited Okinawa in 1969, when the islands were still under American military occupation, and continued to photograph there through the reversion to Japanese control in May 1972. Having grown up near an American base in Nagoya on the mainland, he wished to explore the Americanisation of his homeland further. During the time he spent on the islands, he discovered that, on the whole, the people of Okinawa were able to preserve their customs and traditions in a way that many of those in mainland Japan had not, remarking that 'upon leaving the Okinawa Islands for Japan, that he had not really come to Okinawa but to Japan, and was not leaving for Japan but for America.' The first half of The Pencil of the Sun comprises black-and-white photographs of Okinawa; the second comprises colour photographs made in other Southeast Asian countries he visited during this period. The title refers to how the people he met lived closer to nature—keeping time, not by a clock but by the sun.\u003cbr\u003e\u003cbr\u003eFirst edition; oblong 4to (242 x 259 mm, 9½ x 10¼ in); black-and-white and colour photographs printed in offset, edited by Kitjima Noboru, toning to edges, foxing to preliminary and end leaves; photo-illustrated adhesive-bound wrappers, spine sunned, wear to extremities, creasing to covers, a good copy; [252]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eThe Japanese Photobook 1912-1990 351 pp427.\u003c\/i\u003e","brand":"TOMATSU, Shomei.","offers":[{"title":"Default Title","offer_id":48028808413489,"sku":"111217","price":250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111217_4160c11a-e0e3-48c3-83fb-dd168dd72ba0.jpg?v=1780618109"},{"product_id":"danny-lyon-knave-of-hearts-presentation-copy-1999-111142","title":"Knave of Hearts.","description":"\u003ch4 class=\"srb-faux-head\"\u003epresentation copy inscribed to Hilary Gerrard\u003c\/h4\u003epresentation copy, inscribed by Danny Lyon to Hilary Gerrard, Ringo Starr's manager for over thirty years and a director of the Beatles company Apple Corps. \u003cbr\u003e\u003cbr\u003eKnave of Hearts is Danny Lyon's memoir, illustrated with his colour photomontages and unpublished photographs from his three best-known works: The Bikeriders (1968), The Destruction of Lower Manhattan (1969), and Conversations with the Dead (1971). In his autobiographical text, Lyon traces the history of his family, starting from the 1905 revolution in Russia, and covers the turbulent period of unrest in 1960s America and the social radicalism that took place in New Mexico during the 1970s.\u003cbr\u003e\u003cbr\u003eFirst edition, inscribed by the author; 4to (304 x 253 mm, 12 x 10 in); black-and-white and colour photographs printed in offset, with a text by Danny Lyon, toning to edges; blue cloth-covered boards, titles stamped to spine and front in black, short split to top of rear joint, photo-lllustrated dust-jacket, blue, light rubbing and wear, a very good copy; 140, [8]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"LYON, Danny.","offers":[{"title":"Default Title","offer_id":48045739114801,"sku":"111142","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111142.jpg?v=1780624412"},{"product_id":"christian-boltanski-les-vacances-signed-artists-book-1995-111160","title":"Les Vacances à Berck-Plage (Août 1975).","description":"\u003ch4 class=\"srb-faux-head\"\u003eedition of 500 signed by Boltanski\u003c\/h4\u003eBoltanski took these photographs on the beach and in the popular seaside town of Berck-sur-Mer in Northern France in 1975. For this artists' book, he presents them in the style of an anonymous family holiday album.\u003cbr\u003e\u003cbr\u003eFirst edition; number 261 of 500 signed copies; 12mo (163 x 121 mm, 6½ x 4¾ in); 23 type-c colour photographs tipped in; yellow cloth-covered padded boards, titles stamped in silver on spine and front, extremities and sides rubbed, spine cocked, bookshop security tag to rear pastedown, a very good copy.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eChristian Boltanski Artist's Books pp94-5.\u003c\/i\u003e","brand":"BOLTANSKI, Christian; OBRIST, Hans Ulrich (ed).","offers":[{"title":"Default Title","offer_id":48045739376945,"sku":"111160","price":250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111160_a8641e54-2402-4a0b-a46b-edf3737bd93a.jpg?v=1780624072"},{"product_id":"ravi-shankar-autobiography-george-harrison-110963","title":"Raga Mala. The Autobiography of Ravi Shankar.","description":"\u003ch4 class=\"srb-faux-head\"\u003eBeatles association – inscribed to Hilary Gerrard by George Harrison\u003c\/h4\u003eA lovely Beatles association, with Harrison's signed presentation inscription to the limitation leaf, 'to Hilary with love - George Harrison'. The recipient was Hilary Gerrard, a board director of Apple Corps and for four decades, Ringo's manager. Hilary and George had briefly shared a house some time in the 1970s.\u003cbr\u003e\u003cbr\u003eFirst edition, sole printing; one of 2000 numbered copies specially bound and signed by Shankar; 8vo; publisher's gold silk, device to upper board and titles to spine gilt, all edges gilt, decorative endpapers. Housed in the original folding box with matching containers holding CDs and incense. Fine.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"SHANKAR, Ravi.","offers":[{"title":"Default Title","offer_id":48205267108145,"sku":"110963","price":4500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/110963_bbd0e1e2-8758-4181-83a4-3a1cb88e56f7.jpg?v=1780616559"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/collections\/Artits_Ephemera.png?v=1780416749","url":"https:\/\/shapero.com\/collections\/photobooks.oembed?page=8","provider":"Shapero Rare Books","version":"1.0","type":"link"}