{"title":"Photographs","description":null,"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\u003e\u003ci\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. \u003c\/i\u003e\u003cbr\u003e\u003cbr\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_20359cbb-9cf3-421e-a362-0903e98b62ef.jpg?v=1790169455"},{"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\u003e\u003ci\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.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eGernsheim p.290; Neate G13; Perret 1884.","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_a6912ca1-3249-44f6-acc1-2c5744b13b26.jpg?v=1790188314"},{"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\u003cem\u003e\u003cbr\u003eWall Street\u003c\/em\u003e 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 \u003cem\u003eWall Street\u003c\/em\u003e is his break toward the modern.\u003cbr\u003e\u003cbr\u003eSocial change was important to Strand. With \u003cem\u003eWall Street\u003c\/em\u003e, 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, \u003cem\u003eArt Review: Paul Strand: A Transition, Caught on Film\u003c\/em\u003e.) 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\u003e\u003ci\u003ePhotogravure on japan paper, from \u003cem\u003eCamera Work No. 48\u003c\/em\u003e, annotated on the reverse, image size 13.4 x 16.6 cm., sheet 28.1 x 20 cm, mounted and framed.\u003c\/i\u003e\u003cbr\u003e\u003cbr\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_758be559-352e-4ec8-a509-d095dcde2bba.jpg?v=1790169320"},{"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\u003e\u003cem\u003eThe Steerage\u003c\/em\u003e began its life as a masterpiece four years after its creation, with Stieglitz's publication of it in a 1911 issue of \u003cem\u003eCamera Work \u003c\/em\u003edevoted 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 \u003cem\u003eThe Steerage\u003c\/em\u003e. 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. \u003cem\u003eThe Steerage\u003c\/em\u003e 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\u003e\u003ci\u003eSmall format photogravure on Japanese tissue paper, (197 x 158 mm, 7¾ x 6¼ in), hinge-mounted.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eStieglitz, Camera Work 36.","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_0a695c3b-7bb6-44b6-ba82-8d443921d1bf.jpg?v=1790184005"},{"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\u003e\u003ci\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.\u003c\/i\u003e\u003cbr\u003e\u003cbr\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_5f0d75bc-cf9f-4f82-b39e-b053577f821d.jpg?v=1790168785"},{"product_id":"emerson-life-and-landscape-1886-first-edition-102980","title":"Life and Landscape on the Norfolk Broads.","description":"\u003ch4 class=\"srb-faux-head\"\u003ean 'epoch making' photographic album\u003c\/h4\u003eOf the utmost rarity - Emerson's first publication comprising 40 platinum prints. Peter Henry Emerson is a crucial figure in the evolution of fine art photography, from its roots in the nineteenth century to its modernist manifestation in the early twentieth century. In Life and Landscape in the Norfolk Broads, his first and most important book, Emerson, accompanied by his friend, the artist Thomas Goodall, sought to document the disappearing traditions of rural working life. They capture scenes of reed harvesters, marshmen, and eel catchers, balancing scientific and artistic developments in photography, social reportage, and natural history. The photographs, twenty-seven by Emerson and Goodall and thirteen by Emerson alone, are accompanied by a text describing aspects of life in and around the inland waterways of the Norfolk Broads.'The subtle prints and insightful handling of the subjects combine to make this the most important of Emerson's illustrated books. The text gives sociological dimension to photographs that are cornerstones of British photographic estheticism' (Truthful Lens)According to Robert S. Kahan and J.B. Colson in their bibliography, a deluxe edition of 100 copies with a vellum cover decorated in black and gold and 750 ordinary copies in green cloth were initially advertised, but only twenty-five of the deluxe edition and 175 copies of the ordinary edition were issued\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition; oblong folio (300 x 420 mm, 11¾ x 16½ in); frontispiece and 39 platinum prints made by Valentine \u0026amp; Son, Dundee, mounted on card, printed guard sheets, accompanied by descriptive letterpress, disbound for display, repairs to title-page and text leaves, some foxing, lacking half-title, prints are in fresh condition; modern cloth portfolio incorporating the original cloth-covered boards with a pictorial image and title in gilt on upper side; 3-81, [1]pp.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003ePeter Henry Emerson: An Annotated Bibliography p77; The Truthful Lens 50; The Photobook: A History I, pp70-1; Imagining Paradise pp186–8.","brand":"EMERSON, Peter Henry; GOODALL, Thomas Frederick.","offers":[{"title":"Default Title","offer_id":48424295760177,"sku":"102980","price":87500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/102980_a1ce2007-4527-4888-914c-cb865f081d13.jpg?v=1790187022"},{"product_id":"michael-wolf-tokyo-compression-special-edition-2010-110756","title":"Tokyo Compression.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003e\u003cem\u003eTokyo Compression\u003c\/em\u003e comprises Michael Wolf's candid photographs of Japanese commuters in Tokyo's crowded subway cars.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition, number 5 of 30 copies signed and numbered on the title-page, in an acrylic slipcase with a signed archival pigment print; 4to (245 x 204 mm, 9¾ x 8 in); colour photographs printed in offset, essay by Christian Schüle in English; black endpapers, black cloth-covered boards, titles stamped in white on spine and lower side, colour photographic reproductions mounted on sides, archival pigment print (sheet: 221 x 177 mm, 8¾ x 7 in), signed and numbered on verso, in the publisher's acrylic slipcase, minor production flaw to one corner, near-fine; [112]pp.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eThe Photobook: A History, III p131.","brand":"WOLF, Michael.","offers":[{"title":"Default Title","offer_id":48424296251697,"sku":"110756","price":2350.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/110756_708242b2-d957-4363-bcef-ad0a241b4d04.jpg?v=1790168973"},{"product_id":"carolee-schneemann-david-crosswaite-thames-crawling-1970-112744","title":"Small archive relating to Carolee Schneeman's 'Thames Calling' performance at the Underground Film Festival, National Film Theatre, London, 14th to 20th Sept 1970. [With:] the 'low cost edition' of Schneeman's Parts of a Body House Book.","description":"\u003ch4 class=\"srb-faux-head\"\u003ephotographs of a Carolee Schneemann performance\u003c\/h4\u003eCarolee Schneemann is a pioneering performance artist, filmmaker, and writer on the subjects of feminism, sexuality, and the ecstatic body as a source of knowledge. These photographs by David Crosswaite show her 'Thames Crawling' performance at the 1970  International Underground Film Festival at the National Film Theatre, London.\u003cbr\u003e\u003cbr\u003eIn a note to David Curtis, co-organiser with Simon Field of the Film Festival, Carolee Schneemann writes:\u003cbr\u003e\u003cbr\u003e'Dear Dave: PUBLIC NOTICE –Yugoslavian films lost to us – total black out on communications; at. this late date it must mean \"not possible\". For the late evening program, 17th, where we hoped to have the Yugoslavian films, I'll present an expanded cinema piece (Kinetic Theater my name for it) juxtaposing \"Fuses\" and \"Viet-Flakes\" on  buttresses outside, under the NFT Theater; a performance in a foam rubber environment which might engulf performers and spectators – an activation exchange. Call it for now, \"Thames Crawling\". Realisation with Joan Lifton.'\u003cbr\u003e\u003cbr\u003eDavid Crosswaite is a filmmaker and artist associated with the London Film-Makers' Co-operative (LFMC). He photographed many happenings and performances, and his photographs of 'Thames Crawling' are included in Carolee Schneemann's \u003cem\u003eParts of a Body House Book\u003c\/em\u003e (1972) artists' book. \u003cbr\u003e\u003cbr\u003eThe LFMC was founded in 1966 as a screening club at Better Books on Charing Cross Road, London, and grew into a pioneering organisation that played a crucial role in establishing film as an art form in the UK. In the 1990s, the LFMC merged with London Electronic Arts and became the Lux Centre, which later became Lux.\u003cbr\u003e\u003cbr\u003eSome photographs from 'Thames Crawling' feature in Parts of a Body House Book, which Schneemann describes as being 'an accumulation of letters, analyses of films and charts of sexual parameters which incorporate many of the issues that were of great concern in the early 1970s in London. The texts are centered on those aspects of the body that were then considered shameful or taboo or were simply ignored.'\u003cbr\u003e\u003cbr\u003eThis 'low-cost edition' of Parts of a Body House Book was published by the same press, two months after the 'deluxe edition' of 60 signed and numbered copies (plus 15 artist's proofs).\u003cbr\u003e\u003cbr\u003e\u003ci\u003e18 vintage gelatin silver photographs (105 x 164 mm, 4¼ x 6 ½ in); occasional minor marks, lightly curled, one with a caption and credit in black pen on verso.\u003cbr\u003e\u003cbr\u003e[With:] International Underground Film Festival 14th to 20th Sept 1970. London, National Film Theatre, 1970.\u003cbr\u003e\u003cbr\u003ePoster; (592 x 420 mm, 23¼ x 16½ in); yellow paper printed in red, near-fine.\u003cbr\u003e\u003cbr\u003e[and:] National Film Theatre. September 14th – 20th 1970. South Bank, London. International Underground Film Festival – provisional schedule (as of Sept 3rd.)\u003cbr\u003e\u003cbr\u003eProgramme\/schedule; two duplicated leaves of pale blue paper printed on both sides (330 x 203 mm, 13 x 8 in), folded for mailing, toning to edges with light wear at folds, very good.\u003cbr\u003e\u003cbr\u003e[and:] Oz News. International Film Festival Supplement. Compiled by Dannae Hughes, Ian Stocks and Albie Thoms. Oz 30 Oct 70. [London], Oz, October 1970.\u003cbr\u003e\u003cbr\u003ePoster\/insert; (614 x 422 mm, 24¼ x 16½ in); Oz News printed in black-and-white on one side, Mike McInnerney's tribute to Jimi Hendrix in black and blue on the other, machine-folded three times, three shore edge-tears, near-fine.\u003cbr\u003e\u003cbr\u003e[and:] SCHNEEMANN, Carolee. Parts of a Body House Book. Cullumpton, Devon, Beau Geste Press, March 1972.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"[SCHNEEMANN, Carolee]. CROSSWAITE, David.","offers":[{"title":"Default Title","offer_id":49462621438257,"sku":"112744","price":7500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/112744_6f0493c9-9c73-4224-bb06-2b2d9393f611.jpg?v=1790185619"},{"product_id":"george-rodger-humanity-and-inhumanity-special-edition-1994-113483","title":"Humanity and Inhumanity.","description":"\u003ch4 class=\"srb-faux-head\"\u003eedition of 100 with a signed photograph\u003c\/h4\u003eThe deluxe edition of Humanity \u0026amp; Inhumanity, the first comprehensive overview of Magnum co-founder George Rodger's photographic career. With a signed print of Rodger's 1948 photograph taken in South Africa of a young Basuto boy wrapped in blankets against the cold on the Thabu Bosiu ('Mountain of the Night').\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition, number 21 of 100 signed copies, specially bound with a signed photograph; 4to (289 x 247 mm, 11½ x 9¾ in); black-and-white photographs, text by Bruce Bernard; grey endpapers, grey silk-covered boards, titles to spine and sides in blind, publisher's matching box with titles stamped to spine in black, lightly marked, cloth lifting a little at spine, gelatin silver photograph (252 x 202 mm, 10 x 8 in), signed by Rodger in black ink in lower margin, Magnum stamp on verso, in a sleeve, laid in, fine in a near-fine box; 320pp.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"RODGER, George.","offers":[{"title":"Default Title","offer_id":49888840974641,"sku":"113483","price":1500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/113483_7965a978-fad5-4630-91c7-6a74bda2f6e0.jpg?v=1790187700"},{"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\u003e\u003ci\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.\u003c\/i\u003e\u003cbr\u003e\u003cbr\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_01_fc5ea00d-7098-465e-a258-5cf6934c9ad5.jpg?v=1790168852"},{"product_id":"john-gossage-lamf-first-edition-1987-116370","title":"LAMF","description":"\u003ch4 class=\"srb-faux-head\"\u003eedition of 100 copies\u003c\/h4\u003eEach copy of \u003cem\u003eLAMF \u003c\/em\u003econtains a different selection of 25 and 30 photographs chosen from the complete series of around 100 images. In 1982, Gossage was invited to exhibit and give a workshop at the Werksatt für Fotgrafie in Kreuzberg, Berlin, founded in 1976 by Michael Schmidt. In the early 1980s, Schmidt invited several American photographers, including Lewis Baltz, William Eggleston and Gossage, to exhibit and teach workshops. These cultural exchanges greatly informed the work of all who took part. Gossage made many subsequent visits, and it was here in Berlin, where the past was manifestly visible, that he began making photographs that would inform all of his subsequent work.\u003cbr\u003e\u003cbr\u003eGossage took these photographs in Berlin using a telephoto lens and surveillance film. The series title relates to Gossage's memory of a graffiti warning he often saw whilst growing up in New York City in the 1950s and '60s. LAMF (Like a Mother Fucker) was an acronym used by street gangs to mark their territory. However, when Gossage saw the same letters on walls in Berlin, it seemed more likely that they were written in homage to Johnny Thunders and the Heartbreakers' 1977 album, which had the same name. When prompted some twenty-five years later, he offered 'Lost Angels and Missing Friends'.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition, number 14 of 100 copies, signed by the artist; (219 x 169 mm, 8½ x 6¾ in); 26 mounted gelatin silver photographs, each numbered with a red or black ink stamp, with a mounted sealed letter of introduction; blue cloth-covered boards, title stamped to upper side in gold, original dust-jacket made from a contemporary Berlin newspaper, title stamped in black and red on upper panel and in black on spine, short tear to lower panel, minor sunning to spine; [8], [48]pp.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"GOSSAGE, John.","offers":[{"title":"Default Title","offer_id":55227501248887,"sku":"116370","price":3750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/116370_a07da963-75b8-4441-aeef-7bc640fe1dd6.jpg?v=1790189669"},{"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\u003e\u003ci\u003eMixed media collage on paper (approximately 104 x 148 mm, 4 x 6 in), framed.\u003c\/i\u003e\u003cbr\u003e\u003cbr\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_01_e95b1455-8d11-45b1-b3ed-8948d01fe162.jpg?v=1790169198"},{"product_id":"alec-soth-broken-manual-first-edition-2010-117445","title":"Broken Manual.","description":"\u003ch4 class=\"srb-faux-head\"\u003eedition of 300\u003c\/h4\u003e\u003cem\u003eBroken Manual\u003c\/em\u003e was originally issued in an edition of 300 copies, each concealed within another hollowed-out book. Before being sold, all 300 copies were exhibited in an installation forming part of Soth's first US retrospective, 'From Here to There: Alec Soth's America' at the Walker Art Centre, Minneapolis (12 September 2010 - 2 January 2011). Following the success of his first two books, \u003cem\u003eSleeping by the Mississippi\u003c\/em\u003e (2004) and \u003cem\u003eNiagara\u003c\/em\u003e (2006), Soth began to explore the idea of 'a fantasy of retreat'. He created Broken Manual over four years, between 2006 and 2010; the genesis of the series stems from his fascination with the life of Thomas Merton, a Trappist monk who, before he died in 1968, lived for almost three decades at the remote Abbey of Gethsemani in Kentucky. This interest led to further investigations into the places where people go to escape civilisation and those that go there to escape, including monks, survivalists, hermits, and runaways.\u003cbr\u003e\u003cbr\u003eSoth's alter ego, Lester B. Morrison, was borne out of this research and under this name, Soth created an underground instruction manual of sorts for those wishing to retreat from society and escape their lives. It includes suggestions such as '1. Change your appearance (beard)... 8. Create your own language... 7. Avoid women... 16. Get a dog.' Soth then travelled the country, taking photographs that illustrated the ideas found in the manual.\u003cbr\u003e\u003cbr\u003eSoth explains in \u003cem\u003eInterview\u003c\/em\u003e magazine how the project had its origin in a commission by the High Museum of Art, Atlanta, to make work in the American South: 'I was working in Atlanta and wasn't interested in Atlanta, and then I remembered the Olympic bomber, Eric Rudolph. I poked around where he had been living and hiding out while the FBI was looking for him. I wasn't so interested in the politics of it, it was more the fantasy of the man on the run, something I have always been attracted, the fugitive, that kind of story... it got me thinking about how I wanted to get at that desire to run away, without it being a documentary essay on a specific ideology, outside of the documentary tradition.'\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition of 300 copies, signed and numbered in black ink on the lower cover; 4to (279 x 216 mm, 11 x 8½ in); colour and black \u0026amp; white photographs; printed grey wrappers, cream cloth spine with title in black ink, laid in colour colour photograph (254 x 203 mm, 10 x 8 in) signed and numbered on verso, housed in a hollowed out copy of 'The Nineteenth Century' as issued, with a bi-fold leaflet and colour photograph laid in to a pocket which is signed and numbered by Soth, fine; [146]mm (incl. 4 folding).\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eThe Photobook: A History III, p228.","brand":"SOTH, Alec \u0026 MORRISON, Lester B. 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SOTH, Alec).","offers":[{"title":"Default Title","offer_id":55341408747895,"sku":"117445","price":3250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/117445_01_b9ba45ae-61b2-4fed-978f-af5748b4507d.jpg?v=1790183916"},{"product_id":"dave-heath-korea-special-edition-2004-112023","title":"Korea.","description":"\u003ch4 class=\"srb-faux-head\"\u003epresentation copy – one of 36 with a signed print\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 warm regards \/ Dave Heath New York City \/ 23 Sept 2004'.\u003cbr\u003e\u003cbr\u003eThis special edition includes a signed gelatin silver print of Heath's photograph of Howard Crawford, Jr, an image which was also included in Heath's masterful book A Dialogue With Solitude (1965).\u003cbr\u003e\u003cbr\u003e'When I left for Korea, the kind of photography I was thinking about was like what I had seen in Life magazine, but the pictures I took there, I think in a way, were more like a family album.'\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition, number XI of 36 slipcased copies with a gelatin silver print from a total edition of 200, inscribed in black pen on half-title; 25 black-and-white photographs, 1 colour and 2 black-and-white plates tipped in; brown endpapers, pictorial black and brown paper-covered boards, quarter silk spine with title label, gelatin silver photograph (9 x 7 in) debossed title on recto, signed by Heath in pencil on verso, in a matching portfolio, publisher's brown paper-covered board slipcase with patterned panels on sides, fine; [iv], 62pp.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"HEATH, Dave.","offers":[{"title":"Default Title","offer_id":55800501862775,"sku":"112023","price":1875.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/112023_eb2c6960-51d7-450a-8d86-bbd1ad7ac4ae.jpg?v=1790186295"},{"product_id":"nick-waplington-old-tv-2017-119362","title":"Old TV.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eNick Waplington (b. 1965) has had solo shows at the Tate Britain and The Photographers Gallery in London among other institutions. 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Guggenheim Museum, New York; Victoria and Albert Museum, London; Government Art Collection, London; and the Philadelphia Museum of Art.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eChromogenic photograph (sheet: 305 x 258 mm, 12 x 10¼ in; image: 254 x 178 mm, 10 x 7 in), signed in black pen on verso.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"WAPLINGTON, Nick.","offers":[{"title":"Default Title","offer_id":55817100427639,"sku":"119362","price":400.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/119362_984b759d-d565-497e-a4aa-d9e4e42708ee.jpg?v=1790169031"},{"product_id":"herbert-matter-photograph-of-alexander-calders-circus-119372","title":"Alexander Calder's Circus.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eFor Calder, the circus offered a dynamic subject through which he could explore the core ideas of balance and movement that would define his artwork from 1931 onward, most notably in his invention of the 'mobile' sculpture.\u003cbr\u003e\u003cbr\u003eHerbert Matter (1907–1984) is regarded as one of the foremost figures of mid-century modern design. Born in Switzerland, he developed an interest in photography in Paris in the late 1920s and early 1930s while studying under Fernand Léger and Amédée Ozenfant. Matter worked briefly with Le Corbusier, A. M. Cassandre, and the type foundry Deberny et Peignot. After emigrating to the United States in 1936, he spent the next five decades working as a head designer for Knoll, a professor at Yale University, and as a design consultant for institutions including the Solomon R. Guggenheim Museum. 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In 1978, Fingerhood was appointed as a judge, later serving on the Supreme Court of the State of New York from 1986 to 1994. She and Arbus had known each other since their school days. After earning her degree from Yale Law School, Fingerhood returned to New York, where she established a legal practice focused on literary and First Amendment cases. It was during this period that she reconnected with Arbus, and the two developed a close friendship. From the mid-1950s until Arbus's death, Fingerhood frequently advised her on legal matters, 'because my photographs are becoming more and more questionable...' (Revelations p.181).\u003cbr\u003e\u003cbr\u003eThese photographs were taken shortly before Arbus completed her separation from her husband, Allan. Fingerhood, herself divorced, was raising her son by herself and Arbus, with two children of her own, sought her advice. Around this time, Arbus was particularly interested in photographing children, 'not those who satisfy the spun-sugar fantasies of their elders, but the ones harboring secrets from which adults are excluded' (Lubow p.263).\u003cbr\u003e\u003cbr\u003e\u003ci\u003e4 gelatin silver photographs (355 x 277 mm, 14 x 11 in), light cockling and handling, creasing to corners, occasional short tear to margin, one with fixer marks.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"ARBUS, Diane.","offers":[{"title":"Default Title","offer_id":57010185601399,"sku":"119365","price":7500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/119365_01_4181ecf9-562a-4d50-bdcd-dfc54f1635ab.jpg?v=1790183100"},{"product_id":"99437","title":"My Camera in White Sands.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003e\u003cbr\u003e\u003cbr\u003e\u003ci\u003eCollection of fifteen mounted and matted colour cibachrome photographic prints (12 x 16\") by French photographer Lucien Clergue. \u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"CLERGUE, Lucien.","offers":[{"title":"Default Title","offer_id":57036908003703,"sku":"99437","price":12500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/99437_a8dec099-2321-4e08-920d-9fdeea883850.jpg?v=1790183735"},{"product_id":"o-winston-link-night-trick-with-print-1957-110759","title":"\"Night Trick\" on the Norfolk and Western Railway.","description":"\u003ch4 class=\"srb-faux-head\"\u003ewith a print of the cover image\u003c\/h4\u003eO. Winston Link's first publication with a vintage print of the cover image. In the mid-1950s, Norfolk \u0026amp; Western was one of the few remaining American railroad companies that continued to use steam instead of diesel-powered engines. Between 1955 and May 1960, when the last steam engine ran, Link documented the final years of the steam engine and the erosion of the American rural landscape. While working as a successful, technically accomplished industrial photographer, he experimented with complicated lighting set-ups to photograph trains at night in his spare time. Having a lifelong love of trains, he submitted a proposal to the head of the Norfolk \u0026amp; Western Railway asking permission to photograph at night the trains, people and buildings along the route, which ran from Norfolk, Virginia, to Cincinnati and Columbus and the North-South lines, which crossed it. 'Night Trick' is the name given to the night shift by those railmen working it.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition, with a vintage print of the cover image; oblong 4to (215 × 278 mm, 8½ x 11 in); black-and-white photographs and a map printed in relief halftone; wire-stitched photo-illustrated wrappers printed in yellow; light wear along spine and edges, handling marks and light rubbing to lower side, a very good copy; [16]pp.\u003cbr\u003e'J. R. Harrell, Powhatan Arrow engineer': vintage gelatin silver print, (image: 193 × 242 mm, 7½ x 9½ in; sheet slightly larger, rough cut along bottom edge); Link's early 'Owl' studio hand stamp, his copyright stamp, and an inventory notation in pencil, on verso, crease across bottom right corner, light handling marks, some mirroring.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eSteam, Steel, \u0026amp; Stars p106; The Photobook: A History II, pp188-9.","brand":"LINK, O Winston.","offers":[{"title":"Default Title","offer_id":57078572253559,"sku":"110759","price":5000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/110759_b11ed9b8-ba65-4432-89a5-a5d2722517d2.jpg?v=1790169065"},{"product_id":"adam-bartos-kosmos-special-edition-2001-119368","title":"Kosmos: A Portrait of the Russian Space Age.","description":"\u003ch4 class=\"srb-faux-head\"\u003eone of 20 copies with a signed print\u003c\/h4\u003eOne of 20 copies with a signed print, this copy inscribed by Bartos to Glenn Horowitz, thanking him for a beautiful exhibition and book launch.\u003cbr\u003e\u003cbr\u003eBartos made these photographs of people and sites associated with the Soviet space program between June 1995 and April 1999.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition, number 2 of 20 signed copies with a signed print, inscribed by Bartos in black ink in title-page and with an autograph letter signed on Bartos's letterhead; oblong 4to (240 x 278 mm, 9½ x 11 in); colour photographs, essay by Svetlana Boym; navy printed endpapers, rust cloth-covered boards, titles in silver to spine and upper side, chromogenic print (242 x 350 mm, 9½ x 13¾ in) signed, numbered, and titled in black ink on verso, in a blue paper folder and housed together with the book in the publisher's lightly rubbed and faded cloth drop spine box, fine in a very good box; 176pp.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"BARTOS, Adam.","offers":[{"title":"Default Title","offer_id":57082661896567,"sku":"119368","price":750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/119368_85c44579-8328-4ca7-9b39-8089bbaca2d1.jpg?v=1790183797"},{"product_id":"122791","title":"Manifestations Mai-Juin 1968.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eThe night of May 10-11 1968, known as The Night of the Barricades, was marked by fierce clashes between student protesters and police in the area around the Sorbonne. After police blocked protesters from reaching the ORTF (Office de Radiodiffusion Télévision Française), students began tearing up cobblestones and building barricades. Around 2am on May 11, police launched a charge, and a violent confrontation continued until dawn. Nearly 500 students were arrested and hundreds more were hospitalised, including 250 police officers. Far from quelling support, the clashes deepened public sympathy for the students. What had started as a university-led movement for educational reform soon spread to engulf all of France.\u003cbr\u003e\u003cbr\u003eThe photographs in this album show the aftermath of the night's events with the hand drawn map showing the areas around the Sorbonne, centred on rue Gay Lussac, with symbols showing the location of the barricades and burnt-out cars.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eAlbum (270 x 210 mm, 10¾ x 8¼ in); 49 silver gelatin photographs with locations in ink on verso, map in pen and ink; brown textured covers with title in ink on upper side, black plastic spine bar.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"[PARIS MAI 1968].","offers":[{"title":"Default Title","offer_id":57092813455735,"sku":"122791","price":3750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/122791_7274e160-de47-44e6-8d4e-b8c45e42e07a.jpg?v=1790183475"},{"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 \u003cem\u003eThe Beautiful Book\u003c\/em\u003e 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\u003e\u003cem\u003eThe Beautiful Book\u003c\/em\u003e 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 \u003cem\u003eFlaming Creatures\u003c\/em\u003e (1963), one of the most notorious underground films of the 1960s, which became a test case of censorship laws. \u003cem\u003eThe Beautiful Book\u003c\/em\u003e 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 \u003cem\u003eFilm Culture\u003c\/em\u003e magazine as a series titled '16 Immortal Photographs'. However, \u003cem\u003eFilm Culture\u003c\/em\u003e declined to publish the work, so he produced \u003cem\u003eThe Beautiful Book \u003c\/em\u003ewith Piero Heliczer's The Dead Language Press instead.\u003cbr\u003e\u003cbr\u003e\u003ci\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].\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eFlaming Creature p77; The Open Book pp190-1.","brand":"SMITH, Jack.","offers":[{"title":"Default Title","offer_id":57311700615543,"sku":"110662","price":20000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/110662_01_24ff0fe3-52f2-469d-be7d-401de522d5e8.jpg?v=1790189264"},{"product_id":"121933","title":"Milligan Place, Manhattan.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eAfter spending close to 10 years in Paris, during which she assisted Man Ray, befriended Atget and established a successful portrait studio, Abbott returned to the United States in 1929 to find herself in a changed and rapidly changing New York. Influenced by the work of Atget, whose archive she had purchased after his death, she began photographing the city, documenting the rapid transition from old to new.\u003cbr\u003e\u003cbr\u003eIn 1935 she successfully applied for funding from the Works Progress Administration's Federal Art Project. In the application she wrote of her intention to capture 'the spirit of the metropolis… its hurrying tempo, its congested streets, the past jostling the present… a synthesis which shows the skyscraper in relation to the less colossal edifices which preceded it… It is important that they should be photographed today, not tomorrow; for tomorrow may see many of these exciting and important mementos of eighteenth and nineteenth-century New York swept away to make room for new colossi. Already many an amazing and incredible building which was, or could have been, photographed five years ago has disappeared.'\u003cbr\u003e\u003cbr\u003eThis photograph shows Milligan Place, a secluded courtyard in Greenwich Village, a two-minute walk from the apartment at 51 West 10th Street she shared with her partner, the art critic Elizabeth McCausland.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eGelatin silver print (252 x 201 mm, 10 x 8 in), annotated with the location, negative number, and date, in pencil, and with Berenice Abbott's 'Federal Art Project \"Changing New York\"' and \"50 Commerce St., New York City\" hand stamps on the verso.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"ABBOTT, Berenice.","offers":[{"title":"Default Title","offer_id":57447309934967,"sku":"121933","price":6000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/121933_01_711c572b-e4ef-40de-b5ec-ddf8569f5b64.jpg?v=1790183339"},{"product_id":"121937","title":"Le Petit Tiranon, Versailles.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eFrom 1898 until his death in 1927, Atget tirelessly documented what remained of Old Paris—its streets, monuments, interiors, and surrounding areas. Among the final works in this self-initiated effort to preserve the city's past was a series of photographs capturing landscapes, buildings, and sculptures in the parks of Saint-Cloud and Versailles.\u003cbr\u003e\u003cbr\u003eOne of the sites Atget photographed in this project was the Hameau de la Reine. Constructed in 1783 for Marie Antoinette, this picturesque, rustic hamlet is situated in the grounds of the Château de Versailles, near the Petit Trianon, in Yvelines, France. It served as a secluded retreat where the queen and her closest companions could meet privately and relax away from court life.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eGold chloride printing out paper (approx. 182 x 222 mm, 7¼ x 8¾ in), titled with negative number 6944 in pencil by the photographer with 'E. ATGET Rue Campagne-Première, 17 bis' hand stamp on verso.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"ATGET, Eugène.","offers":[{"title":"Default Title","offer_id":57447309967735,"sku":"121937","price":7000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/121937_01_c4b294b7-ef79-4ed2-b10d-d93d3294ec0c.jpg?v=1790183344"},{"product_id":"121936","title":"Portrait of Djuna Barnes.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eBerenice Abbott moved from Ohio to Greenwich Village in 1918 and lived in a dwelling with several other people, including the American writer Djuna Barnes. The house at 86 Greenwich Avenue was known as Clemenceau Cottage, for the French Prime Minister George Clemenceau, who lived there in exile before the 1871 Paris Commune. Their friendship endured for decades, though at times it was complicated by shared romantic entanglements. \u003cbr\u003e\u003cbr\u003eIn 1921, she moved to Paris and, two years later, began working as a darkroom assistant to Man Ray, who encouraged her to use the studio for her own photography. This is where this portrait was taken. Man Ray insisted that Abbott charge the same as he did, so that clients would take her more seriously and she would not undercut his business. A little over ten years later, Barnes published Nightwood (1936), a landmark of lesbian literature inspired by her turbulent relationship with American artist Thelma Wood, who also had a brief affair with Abbott.\u003cbr\u003e\u003cbr\u003eIn addition to Barnes, Abbott's early sitters included Sylvia Beach, Jean Cocteau, and Marie Laurencin.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eGelatin silver print (172 x 126 mm, 6¾ x 5 in), minor handling, crease to bottom right tip, small loss to top right tip, minor mirroring, annotations,and Abbott's 'Photographie de Berenice Abbott \/ 18, Rue Servandoni. Paris' and 'Berenice Abbott Photograph' ink stamps, and 'Collection Romeo Martinez' stamp on verso.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"ABBOTT, Berenice.","offers":[{"title":"Default Title","offer_id":57449150546295,"sku":"121936","price":7000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/121936_01_0cbcc2fe-c3f3-43e9-ab51-7c9108733fbd.jpg?v=1790183339"},{"product_id":"david-galjaard-concresco-first-edition-2012-111492","title":"Concresco.","description":"\u003ch4 class=\"srb-faux-head\"\u003eone of 78 with an original photograph\u003c\/h4\u003eIn \u003cem\u003eConcresco,\u003c\/em\u003e David Galjaard explores the social and symbolic significance of the numerous concrete bunkers built in Albania during the rule of dictator Ever Hoxha and the role they now play in the modern landscape. Hoxha, who was in power from 1944 to 1985, had approximately 750,000 bunkers constructed between 1967 and 1985 on the pretext of Albania needing to prepare for a possible attack from overseas, though ultimately, no actual conflict occurred. Concresco was awarded the Paris Photo—Aperture Foundation First PhotoBook Award, 2012.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition, number 13 of 26 copies with an original photograph (there was a choice of three prints, each in an edition of 26) from a total edition of 750, signed on the front flap; 4to (341 x 213 mm, 13½ x 8½ in); colour photographs printed in offset, text in English by Slavenka Drakulic and Jaap Scholten, design by Katie McGonigal; red card wrappers with flaps, upper side embossed and with titles in black, colour photograph (245 x 304 mm, 9¾ x 12 in) signed, numbered, and stamped on verso, publisher's brown card folding case printed in black, closed with thread and rivet fastenings. fine; [136]pp with [36]pp of smaller leaves bound in.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eThe Photobook: A History III, p210.","brand":"GALJAARD, David.","offers":[{"title":"Default Title","offer_id":57472322371959,"sku":"111492","price":975.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111492_a1a80cdf-fd1d-4e3a-89d8-720aaf07a482.jpg?v=1790186305"},{"product_id":"ren-hang-brightest-light-runs-too-fast-2014-110811","title":"The Brightest Light Runs Too Fast.","description":"\u003ch4 class=\"srb-faux-head\"\u003ewith a signed photograph\u003c\/h4\u003eThe image on the cover of \u003cem\u003eThe Brightest Light Runs Too Fast\u003c\/em\u003e is only revealed when exposed to temperatures above 27 degrees or by human touch. Otherwise, it remains black, a reference to, and a way to avoid, censorship of such images in China. Ren Hang was born in 1987 in Chang Chun, Jilin province, in Northeastern China, a region known as the Detroit of China due to the size of its automobile industry. He left his hometown for Beijing, aged 17, to study advertising. He began to stage nude photographs of his friends as a way to relieve the boredom he felt while studying at college. The Chinese government actively and routinely censored Hang's work, his photographs were defaced at Beijing exhibitions or confiscated by officials, and his website was often taken down. Ren Hang took his own life in 2017. He was 29.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition, one of 500 numbered copies, each accompanied by a signed original photograph; 8vo (225 x 168 mm, 8¾ x 6½ in); colour photographs, design by Ramon Pez; black endpapers, photo-illustrated thermal paper-covered boards, light rubbing to edges, common with this title, near-fine, original colour photograph (120 x 143 mm, 4¾ x 5¾ in) signed and dated by Hang in black ink in margin, inserted into a flap on rear endpaper; [80]pp.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"HANG, Ren.","offers":[{"title":"Default Title","offer_id":57472322404727,"sku":"110811","price":2000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/110811_1a23320d-cf67-4697-9241-e9f4ec55cbf4.jpg?v=1790169205"},{"product_id":"122885","title":"Deux Filles Publiques.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003e\u003cbr\u003e\u003cbr\u003e\u003ci\u003eGelatin silver photograph (103 x 146 mm, 4 x 5¾ in), light handling, slight mirroring, framed.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"[POLICE PHOTOGRAPHS.]","offers":[{"title":"Default Title","offer_id":57482327589239,"sku":"122885","price":675.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/122885_01_db9fa403-6681-463e-9282-a6947d3be760.jpg?v=1790183479"}],"url":"https:\/\/shapero.com\/en-us\/collections\/photography-photographs.oembed","provider":"Shapero Rare Books","version":"1.0","type":"link"}