{"title":"SLAM 2025 | Full Catalogue","description":"\u003cp data-start=\"173\" data-end=\"374\"\u003e\u003cstrong data-start=\"173\" data-end=\"374\"\u003eBernard Shapero and his team warmly invite you to the 2025 edition of SLAM Paris – the Rare Books \u0026amp; Graphics Fair – taking place at the iconic Carreau du Temple, in the vibrant heart of the Marais.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"376\" data-end=\"558\"\u003eWe will be exhibiting at \u003cstrong data-start=\"401\" data-end=\"413\"\u003eStand B6\u003c\/strong\u003e, where you'll find a curated selection of rare books, antique prints, and remarkable works – each with a story waiting to be discovered.\u003c\/p\u003e\n\u003cp data-start=\"560\" data-end=\"602\" style=\"text-align: center;\"\u003eRendez-vous à Paris!\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eDiscover our \u003ca href=\"https:\/\/shapero.com\/collections\/slam-2025-highlights\"\u003e\u003cem\u003eHighlights\u003c\/em\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"560\" data-end=\"602\" style=\"text-align: center;\"\u003e \u003c\/p\u003e\n\u003cp data-start=\"560\" data-end=\"602\" style=\"text-align: left;\"\u003e\u003cstrong\u003e📩 \u003ca href=\"https:\/\/shapero.us10.list-manage.com\/subscribe?u=1f5b82db110eaa34e31f70c51\u0026amp;id=84f4d29866\" rel=\"noopener\" target=\"_blank\"\u003eJoin our Mailing List\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e🛒 \u003ca href=\"https:\/\/shapero.com\/collections\/bookshop\"\u003e#ShopAtShapero\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e📚 \u003ca href=\"https:\/\/shapero.com\/collections\/new-arrivals\"\u003eNew Arrivals\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e📖 \u003ca href=\"https:\/\/shapero.com\/pages\/catalogues\"\u003eCatalogues\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"560\" data-end=\"602\"\u003e \u003c\/p\u003e\n\u003cp data-start=\"560\" data-end=\"602\" style=\"text-align: left;\"\u003e\u003cstrong\u003e\u003cem\u003e- - - \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","products":[{"product_id":"audebert-histoire-naturell-singes-makis-large-paper-1800-bozerian-binding-90035","title":"Histoire naturelle des singes et des makis.","description":"\u003ch4 class=\"srb-faux-head\"\u003ewith monkey tools by Bozerian\u003c\/h4\u003eA fine fresh large paper copy in a handsome contemporary binding by Bozerian, of the earliest illustrated monograph on monkeys and Audebert's first original work. \u003cbr\u003e\u003cbr\u003ePublished in 10 parts, the first two in February and July 1798, the remainder between January and October 1799. Audebert (1759-1800), was born at Rochefort. He studied painting and drawing at Paris. The present monograph, which divided the monkeys into six families, was the more impressive for employing a colour-printing process in which all the colours were printed from one plate and oil paint was substituted for gouache. In developing this new technique, his experience as a distinguished miniature painter was probably important. His interest turned to natural history after a meeting in 1789 with Gigot-d'Orex, a rich amateur collector of specimens. When Audebert died at the young age of 41, his reputation as an artist-naturalist was assured both by the present work and the later Oiseaux dorés (Paris, 1800-1802).\u003cbr\u003e\u003cbr\u003eJean-Claude Bozérian (17962-1840) along with his younger brother, François, were the leading binders of their age, working for Napoleon during the First Empire. At the 1801 Paris Exhibition, Jean-Claude won the bookbinding medal.\u003cbr\u003e\u003cbr\u003eFirst edition; 2 vols in one, folio (52 x 34.5 cm). 63 copper engraved plates, including 61 printed in colour and finished by hand, contemporary veau blond gilt by Bozerian (signed at foot of spine), flat spine with monkey tools in compartments, all edges gilt, a fine copy.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eBrunet I, 550; Nissen ZVB, 156; Wood, p. 206.\u003c\/i\u003e","brand":"AUDEBERT, Jean Baptiste.","offers":[{"title":"Default Title","offer_id":45547009245489,"sku":"90035","price":15000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/90035_556a383c-3f91-41f2-bfaf-7b9fae861170.jpg?v=1780910929"},{"product_id":"repton-observations-landscape-gardening-1803-91546","title":"Observations on the Theory and Practice of Landscape Gardening.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eAn important work which provides 'a guide to [Repton's] approach to landscape design, with explanations of his aims and his methods of achieving them in specific instances'. \u003cbr\u003e\u003cbr\u003eThe book is a compilation of texts from a number of the Red Books he had composed since his last publication, many of them now lost - those for Balstrode, Corsham, Gayhurst, Shardeloes, and West Wycombe. Several others are now in American collections - those for Armley, Brandesbury, Culford, Ferney, the Royal Fort, Bristol, and Stonelands.\u003cbr\u003e\u003cbr\u003eRepton's Red Books, almost always bound in red morocco, included Repton's suggestions for ways to make clients' estates even more beautiful; with a hill removed here, a lake created there, a clump of trees artfully placed... The books were not printed but were manuscripts with the texts, maps, and drawings done by experts at the height of their professions. Each book included a before and after - a watercolour view of the chosen scene after proposed changes had been made, overlaid by a hinged cutout turning the picture back to the original view.\u003cbr\u003e\u003cbr\u003eThe Red Books formed handsome albums of views for display in the patron's library, to serve as plans or to record work in progress. But Repton's work was very expensive: some clients commissioned their surveys for social prestige, but never attempted to put his recommendations into practice.\u003cbr\u003e\u003cbr\u003eRepton's Observations is, in effect, a handbook of tricks of the trade, or rather profession, for, unlike Capability Brown, who had usually contracted himself for work, Repton acted only as a consultant and overseer (Millard). 'The overlays in Repton's books on landscape gardening, by means of which he showed selected prospects before and after he had turned his hand to them, have caused collectors to treasure his engravings as curiosities, but they are remarkable as well for the evidence of his draughtsmanship' (Ray).\u003cbr\u003e\u003cbr\u003eFirst edition, 4to. (34 x 27 cm)., stipple-engraved portrait frontispiece, 25 aquatint plates and 2 line-engraved plates, of which 12 are hand-coloured or tinted and 12 plates have overlays, 10 aquatint head and tail pieces and numerous woodcut illustrations in text, 2 of the vignettes with overlays, folding plate at page 208 with tears into image repaired, contemporary half calf, joints and extremities repaired, lightly worn.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eMillard, British Books, 65 (second edition); Abbey Scenery 390; Berlin Kat. 3431; Ray 38.\u003c\/i\u003e","brand":"REPTON, Humphry.","offers":[{"title":"Default Title","offer_id":45547045650737,"sku":"91546","price":8500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/91546_86364260-512f-4e25-8f0e-f4e171b97c2b.jpg?v=1780920419"},{"product_id":"max-ernst-andre-breton-femme-100-tetes-1929-96318","title":"La femme 100 têtes.","description":"\u003ch4 class=\"srb-faux-head\"\u003esurrealist work beautifully bound \u003c\/h4\u003eLa femme 100 têtes was the first of three collage-novels by Max Ernst. The artist forges a universe of mystery, full of all the possibilities of the surreal, by culling the bourgeois interiors that pepper XIX century engravings and instead assembling images from several different illustrated works. This is a seminal and quintessential XX-century work of art.\u003cbr\u003e\u003cbr\u003eThe book was originally sold unbound, and this particular copy has been bound by the talented Daniel Henri Mercher, whose father Henri (1912-76) was also an innovative and creative binder. Henri invented a method of mounting covers that allowed him to use any type of material that could be sanded, carved or polished. His particular favourite was plexiglass, as seen in this superb example.\u003cbr\u003e\u003cbr\u003eLimited edition, number 371 of 900 copies; 4to (25 x 20 cm); title, limitation, [4]pp. introduction by André Bréton, 147 plates after Max Ernst; original green wrappers, cream wove endpapers, green morocco by D. H. Mercher dated 1991 (binder's mark) with collage playing card design inlaid on covers in plexiglass, matching green morocco chemise with woven paper covers, spine gilt lettered, housed in cream coloured slipcase.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eDictionary of French bookbinders.\u003c\/i\u003e","brand":"ERNST, Max; BRETON, André.","offers":[{"title":"Default Title","offer_id":45547093131569,"sku":"96318","price":8500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/96318.jpg?v=1780918429"},{"product_id":"desiderius-erasmus-moriae-ecomium-scarce-early-edition-109061","title":"Moriae Encomium.","description":"\u003ch4 class=\"srb-faux-head\"\u003efirst dated edition \u0026amp; earliest procurable edition of Erasmus' In Praise of Folly\u003c\/h4\u003eThe scarce first dated edition of Erasmus' Moriae Encomium, an important work of humanist rhetoric which satirised the corruption and religious hypocrisy of Europe's elite.\u003cbr\u003e\u003cbr\u003ePrinted two months after the undated Paris edition by Gilles de Gourmont, of which only a handful of copies survive, all of them in institutional libraries. The present edition, almost as rare, is not merely a reprint of the Paris edition, but contains additional material including an address and laudatory letter to Erasmus by his fellow humanist Jakob Wimpfeling. All early editions are exceedingly scarce, with only three appearing at auction in the last 100 years that we could trace. The first English translation was not published until 1549, although there had been Czech, French and German editions prior to this.\u003cbr\u003e\u003cbr\u003e'The Praise of Folly was written when Erasmus was staying in the house of Thomas More in the winter of 1509-1510. Its title is a delicate and complimentary play on the name of his host: its subject matter is a brilliant, biting satire on the folly to be found in all walks of life. The book stemmed from the decision which Erasmus had taken when he left Rome to come to England, that no form of preferment could be obtained at the sacrifice of his freedom to read, think and write what he liked The work was first secretly printed in Paris, and, as in other cases, its immediate success safeguarded him from the consequences of his audacity Whenever tyranny or absolute power threatened, The Praise of Folly was re-read and reprinted. It is a sign of what was in the air that Milton found it in every hand at Cambridge in 1628. His inherent scepticism has led people to call Erasmus the father of 18th-century rationalism, but his rationalist attitude is that of perfect common sense, to which tyranny and fanaticism were alike abhorrent' (PMM 43).\u003cbr\u003e\u003cbr\u003eDespite the risky nature of the work and its explicit and implicit attacks on established religion and authority figures of the time, its rapid popularity ensured that the author and the work were left unmolested by church and state, at least until Erasmus' death in 1536, after which his previously untainted reputation was diminished. By 1559, all of his works had been proscribed under the insidious Index Auctorum et Librorum Prohibitorum.\u003cbr\u003e\u003cbr\u003eSecond edition, first dated edition; 4to (20.2 x 14.5 cm); dated ownership inscription in pen to title, Roman and Greek type, lower edge of G1 torn with loss (not affecting text), slight toning and soiling, occasional underlining in ink; 19th-century vellum gilt, spine gilt in compartments, gilt lettering to second and fifth compartments on black morocco lettering-pieces, edges stained red, slight warping to upper board, light soiling to boards; collation: A8 B4 C8 D4 E8 F4 G-H6, with final blank leaf (H6) present ff.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eBezzel 1298; cf. PMM 43; Vander Haeghen 122.\u003c\/i\u003e","brand":"ERASMUS, Desiderius.","offers":[{"title":"Default Title","offer_id":45547616436529,"sku":"109061","price":50000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/109061_4c987df1-c83d-477c-b2f5-5c1ec547043f.jpg?v=1780913253"},{"product_id":"picasso-iliazd-chevaux-de-minuit-cannes-paris-1956-109080","title":"Chevaux de minuit.","description":"\u003ch4 class=\"srb-faux-head\"\u003esigned by picasso and iliazd\u003c\/h4\u003eOne of 52 copies, Chevaux de minuit is one of Picasso and Iliazd's most successful collaborations. 'Picasso's stylistic range from the animals of the 1942 Buffon to these horses is a vast one. Here he has restricted himself to an extreme simplification of outline, accented only by the drypoint burr, yet vividly descriptive of movement. The typographic layout by Iliazd carefully balances and sometimes echoes the design of the plates' (Artist and the Book)\u003cbr\u003e\u003cbr\u003eThe poem Chevaux de Minuit by Roch Grey (pseudonym of Baroness Hélène Oettingen) was edited by Iliazd after her death in 1950. The two had been friends and Ilia Zdanevich felt that the writer's work had been under-appreciated in her lifetime, having not received recognition in either mainstream or avant-garde literary circles. It was his aim, especially in the later part of his career to bring to light the work of marginal writers by collaborating with famous artists, many of whom were his close companions.\u003cbr\u003e\u003cbr\u003eLimited edition, one of 52 copies on vieux Japon from a total edition of 68 signed by Picasso and Ililazd; folio (32 x 22 cm); with 12 engravings, of which 2 are hors texte and 10 are in text; pages are folded in three with engraving in centre and text either side; in original vellum wrappers with a drypoint etching on the cover, in a folded vellum sleeve with the spine imprinted with the title, vellum wrappers slightly stained otherwise a fine copy.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"PICASSO, Pablo; ILIAZD; GREY, Roch [pseud. OETTINGEN, Hélène].","offers":[{"title":"Default Title","offer_id":45957976523057,"sku":"109080","price":65000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/109080.jpg?v=1780952606"},{"product_id":"tsar-paul-petrovich-risuniki-1835-109898","title":"Risunki sobstvennym voiskam pokoinago Imperatora Pavle I.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eRemarkably fine series of hand-coloured prints of military costumes after Paul I in an exceptional contemporary Russian binding. The book was printed at the personal bequest of his son Tsar Nicholas I in an incredibly small edition. The short reign of Paul I ended with his murder in 1801, and was marked by his obsession with dress uniforms. All ten of the figures in this rare suite are drawn in the same posture, at attention with arms firmly clasped to sides, and though this gives them a slightly doll-like quality, they are painstakingly and beautifully coloured by a contemporary hand. Nicholas I viewed his father with deep reverence and also admired the pomp and order of the Imperial army, this publication was an attempt to honour his father's legacy.\u003cbr\u003e\u003cbr\u003eFirst edition, small folio (31 x 22 cm); lithographic title and 10 unnumbered coloured by contemporary hand (title soiled at foot where mark of ownership erased, bottom corners of leaves with very light staining, pl. 7 with printed Russian caption and early manuscript German translation; contemporary green Russian morocco, upper cover lettered in gilt, both covers with elaborate panelling in gilt and blind, flat spine in gilt panels, gilt turn-ins, blue endpapers, gilt edges (extremities rubbed, tiny split in joint at head of spine), a fine copy.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"[PETROVICH, Paul I (Tsar of Russia)].","offers":[{"title":"Default Title","offer_id":47823110177073,"sku":"109898","price":12500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/109898_ab57c473-65c7-4ef9-92f4-c6c59bae6937.jpg?v=1780922102"},{"product_id":"turkish-costume-recueil-differens-costumes-1775-1701-111328","title":"Recueil des differens costumes des principaux officiers et magistrats de la porte;","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eTwo extremely rare works bound in a single volume: the first work illustrating the costume of the Ottoman court and the Ottoman empire, almost certainly assembled in Paris in celebration of the enthronement of Sultan Abdul Hamid I (Abd al-Hamid, Sultan 1774-1789); the second work recording the costumes and people of Algiers by the artist Andreas Matthäus Wolfgang (1660-1736), who was sold into slavery, along with his brother, and held in Algiers from 1684-1691.\u003cbr\u003e\u003cbr\u003eThe first work demonstrates how the French, along with many other European powers, were fascinated by the hierarchical arrangements of Ottoman Society and the etiquette of the various strata particularly in their dress. The author or editor of this work is unknown; perhaps the publisher Onfroy was also the editor. A few plates identify the artist and the engraver as Pitre and Juillet respectively. The plates depict the costume of the Ottoman court and military functionaries in detail and also that of the fourteen 'nations'. The work is divided into sections, each devoted to the costume of the different orders of society; they range from the Sultan and his close court to those from the more distant parts of the Empire, such as North Africa. This work develops the 16th-century imagery of Nicolas de Nicolay and the Blackmer catalogue considered that about a third of the plates were based on Nicolay prototypes, taken from his book of Turkish costume.\u003cbr\u003e\u003cbr\u003eThe second work is a product of the artist Andreas Matthäus Wolfgang's experience as a slave in Algeria. Andreas was born in Augsburg in 1660, and was trained to be an engraver by his father, Georg Andreas Wolfgang the Elder, who sent both him and his brother to England for further training. However, on their return to the continent in 1684, the brothers were captured by Algerian pirates and subsequently sold as slaves. The present suite includes a self-portrait of the artist serving chocolate and coffee while in the service of the Bey of Algiers, wearing traditional costume. The two brothers were only released once a ransom was paid, probably in 1691. Following his return from Algiers, Andreas settled in Augsburg and lived there until his death in 1736. Some of the etchings present are dated 1701 in the plate. The Liechtenstein Collections contain a suite of 16 plates, of which only 6 are coloured, and are ascribed dates from 1701-1710. It should be noted that the Liechtenstein suite matches 14 of the plates present in this volume, containing 2 plates not present here, but without 'Conterfan dess Mezomorto gewesten Daÿ in Algier' and 'Solimann ein verschnidner über des Königs von Allgier' found in this volume. The British Museum holds only 4 uncoloured prints from the suite.\u003cbr\u003e\u003cbr\u003eTwo works in one vol., folio (38 x 22.7 cm); [TURKISH COSTUME]: contemporary hand-coloured engraved title, engraved list of plates \u0026amp; 16 leaves of engraved text within borders, 95 [only, of 96] fine contemporary hand-coloured engraved costume plates, all within borders, and heightened with touches of gold and silver, a few signed Juillet after Pitre, lacking plates 88 'Femme Turque d'Andriople' and 96 'Femme d'Alger avec ses enfants', but with plate 14 'Le Moufti Commandant des Mosquées' in duplicate in two variants, one on smaller paper and loosely inserted with additional title of 'Officier du Divan' and 7-line explanatory text below, the whole within wide engraved border, the other with border matching the majority, additional title 'Et Chef de la Loi' as per Blackmer's listing, and without explanatory text, occasional faint spotting, but mostly clean and fresh; [WOLFGANG]: 16 engraved plates after Wolfgang by Jeremias Wolff, all with fine contemporary hand-colour and heightened in gold, within frames highlighted in yellow, some light offsetting and toning; early 20th-century green quarter morocco, flat spine in six compartments, lettered in gilt in the second, the others decorated with stars and crescent moons, light rubbing to extremities, front inner hinge starting to split.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eBlackmer 1399; Bobins I, 127; Colas 2501; Nagler (Neues allgemeines Künstler-Lexikon), p.60.\u003c\/i\u003e","brand":"[TURKISH COSTUME]; [WOLFGANG, Andreas Matthäus].","offers":[{"title":"Default Title","offer_id":48079619424561,"sku":"111328","price":50000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111328_3ebcc1a5-290e-4ab1-9deb-3ff633d344ad.jpg?v=1780922123"},{"product_id":"alken-british-field-sports-london-1822-111333","title":"Delineations of British Field Sports,","description":"\u003ch4 class=\"srb-faux-head\"\u003ethe Schwerdt copy\u003c\/h4\u003e'The coloured issue ranks as one of the rarest sporting books of the period. There is only a record of a second coloured copy, which is untraceable' (Schwerdt). Delineations... is the only book published by Samuel Alken, Henry Thomas Alken's brother; it was first issued in six monthly parts in wrappers (no copy known), and then in book form in two states: uncoloured on drab paper, as Mellon, or the more luxurious issue with coloured lithographs on white paper, as here. Schwerdt notes that the vigorous style of these plates made them eminently suitable for framing, and accounts in part for their rarity; 'twenty years' search has not enabled us to make up a complete set'. \u003cbr\u003e\u003cbr\u003eLater in the collection of Hugh Auchincloss, attorney and power broker, and stepfather to both Gore Vidal and Jacqueline Kennedy Onassis. Not in the British Library; not in Abbey, Dixon, or Tooley. WorldCat locates just one copy, the Mellon copy, at Yale's Sterling Library; that one uncoloured and on grey paper.\u003cbr\u003e\u003cbr\u003eFirst edition, oblong folio (28.6 x 45.6 cm); 24 hand-coloured lithographs, plate 13 just trimmed by the binder, shallow crease in the first plate, a few short marginal tears of which one repaired, faint stain in the top margin of the first few leaves; later red half morocco, spine gilt in compartments, sides with gilt double fillet, top edge gilt, marbled endpapers (extremities rubbed, boards spotted, light soiling), a very good copy.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"ALKEN, Samuel.","offers":[{"title":"Default Title","offer_id":48087929749809,"sku":"111333","price":15000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111333_ff13dc2a-4184-4d30-b601-f28bd040e16b.jpg?v=1780910562"},{"product_id":"jack-smith-beautiful-book-1962-110662","title":"The Beautiful Book.","description":"\u003ch4 class=\"srb-faux-head\"\u003ewith 20 as opposed to the usual 19 photographs\u003c\/h4\u003eJack Smith is a key figure in the cultural history of Downtown New York; his influence is foundational in the history of experimental film, queer cinema, and performance art, helping transform the artistic landscape of New York. This copy of The Beautiful Book includes an additional image, meaning it contains 20 gelatin silver photographs instead of the usual 19 (18 photographs by Smith and one portrait of Smith by Ken Jacobs). Except for the additional photograph, the sequence of the images remains consistent with other copies but with one print orientated differently.\u003cbr\u003e\u003cbr\u003eThe Beautiful Book was produced in an intended but unrealised edition of 200 copies. Jack Smith, Piero Heliczer, and their associates assembled the books during the late spring and early summer of 1962 before shooting began on Smith's film Flaming Creatures (1963), one of the most notorious underground films of the 1960s, which became a test case of censorship laws. The Beautiful Book contains photographs taken during an extended series of photo sessions at his Lower East Side apartment between 1961 and 1962. Smith planned to give them to Jonas Mekas's Film Culture magazine as a series titled '16 Immortal Photographs'. However, Film Culture declined to publish the work, so he produced The Beautiful Book with Piero Heliczer's The Dead Language Press instead.\u003cbr\u003e\u003cbr\u003eFirst edition, one of a planned edition of 200 copies; 4to (225 x 190 mm, 8 3⁄4 x 7½ in); 20 gelatin silver contact photographs (55 x 55 mm, 2¼ x 2¼ in) mounted on yellow pages, minor occasional mirroring; wire-stitched card covers printed in black and yellow after a design by Marian Zazeela, slight crease to foot of spine, stray ink marks to inside covers with minor offsetting to first and last pages, bottom wire pulling at spine, near-fine; [20pp].\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFlaming Creature p77; The Open Book pp190-1.\u003c\/i\u003e","brand":"SMITH, Jack.","offers":[{"title":"Default Title","offer_id":48424295858481,"sku":"110662","price":20000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/110662.jpg?v=1780916054"},{"product_id":"lewis-hine-men-at-work-presentation-copy-1932-111371","title":"Men at Work.","description":"\u003ch4 class=\"srb-faux-head\"\u003eimportant association copy\u003c\/h4\u003eAn important presentation copy in a remarkable example of the rare dust-jacket, inscribed: 'To Owen R. Lovejoy \/ for his never-failing appreciation \/ of our work, – many of the results \/ being the direct outgrowth of his \/ suggestions and optimistic criticism. \/ May his vision never grow dim.' Owen R. Lovejoy was a vehement opposer of child labour. He served as the general secretary of the National Child Labor Committee from 1907 to 1926, where Lewis Hine was a staff photographer and art director of their magazine 'Charities and Commons (later 'The Survey') between 1908 and 1917.\u003cbr\u003e\u003cbr\u003eMen at Work contains photographs made between 1920 and 1931, issued amid the worst employment crisis the United States had ever known. Hine saw it as a way of reaching out to schoolchildren, providing them with constructive role models and emphasising the human element of industry, with photographs of railroad employees, coal miners, aeroplane assemblers, steelworkers, and others. Among the most striking photographs are Hine's images of the construction of the Empire State Building, which Empire State, Incorporated, had used widely for publicity purposes.\u003cbr\u003e\u003cbr\u003eHine always insisted on exerting control over the layout of his photographs, regularly requesting to see magazine proofs before publication. It is probably for this reason that he was not selected to work for the Farm Security Administration during the 1930s, with Roy Stryker, head of the Historical Division of the FSA, expressing concern that Hine may be difficult to employ and that it would be impossible to make the type of arrangements that he would have found satisfactory. Men at Work is the only book of Hine's photographs published in his lifetime.\u003cbr\u003e\u003cbr\u003eFirst edition, presentation copy inscribed on the front free endpaper; 4to (253 x 203 mm, 10 x 8 in); black \u0026amp; white photographs printed in gravure; minor foxing to endpapers, green cloth-covered boards, titles to upper side in black, mottling to boards along fore-edge, photo-illustrated dust-jacket, minor wear to edges, minor foxing to verso, price-clipped for presentation, a near-fine copy in a remarkable example of the rare dust-jacket; [48]pp. [With:] LOVEJOY, Owen R. The Negro Children of New York. New York, The Children's Aid Society, 1932.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eThe Photobook: A History I, p126; The Open Book pp108–9; Auer Collection p187.\u003c\/i\u003e","brand":"HINE, Lewis W[ickes].","offers":[{"title":"Default Title","offer_id":48424303493425,"sku":"111371","price":15000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111371.jpg?v=1780917847"},{"product_id":"araki-nobuyoshi-sentimental-journey-presentation-copy-1971-111533","title":"Senchimentaru na Tabi [Sentimental Journey].","description":"\u003ch4 class=\"srb-faux-head\"\u003einscribed with a drawing\u003c\/h4\u003eAn early presentation copy of Araki Nobuyoshi's most important work, inscribed to Asahi Sonorama Chief Editor Tatsuo Shira with a drawing of a three-trunked elephant, which was Araki's preferred method of embellishment in the 1970s.\u003cbr\u003e\u003cbr\u003eSentimental Journey is Araki's signature work, comprising photographs made while on honeymoon with his wife Yoko in Yanagawa on Japan's Kyushu island. Araki's exposure of this most intimate of occasions attracted much criticism in a country which still valued a strict code of behaviour, but ultimately, by putting his private life forward for public scrutiny, he paved the way for successive generations of Japanese photographers to work in a similar vein.\u003cbr\u003e\u003cbr\u003eInitially, Araki had intended for Sentimental Journey to contain no text. However, after publication and at the request of the bookshop Kinokuniya, he wrote a short introduction that rejects the falseness and insincerity of much photography and compares his work to the popular post-war literary form of the 'I' novel. This text was printed on a green leaf of paper and laid into the book.\u003cbr\u003e\u003cbr\u003eFirst edition, presentation copy inscribed by Araki on the upper wrapper with a drawing, his address on the lower side crossed out; 4to (238 x 238 mm, 9¼ x 9¼ in); black-and-white photographs printed in offset; wire-stitched with white photo-illustrated card wrappers, printed in black, light rubbing and soiling, minor foxing to sides and edges, a near-fine copy with the printed leaf of green paper added by Araki shortly after publication at a bookshop's request; [108]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eProvoke pp11-12; The Book of 101 Books pp206-7; The Photobook: A History I, p295; The Open Book pp268-9; Auer Collection p527; Self Life Death p694; A Book of Araki Books pp38- 45; Japanese Photobooks of the 1960s and '70s pp108-115; The Japanese Photobook 321.\u003c\/i\u003e","brand":"ARAKI, Nobuyoshi.","offers":[{"title":"Default Title","offer_id":48424305295665,"sku":"111533","price":8750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111533_467ad16a-1957-4a13-8262-68b7a448b4ff.jpg?v=1780910797"},{"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 Parts of a Body House Book (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\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.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\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_640905c7-d76e-40ce-83a6-3ee407609ba7.jpg?v=1780912252"},{"product_id":"lange-hoffest-ferrara-1846-first-edition-112133","title":"Das Hoffest zu Ferrara, in den Saelen des Koeniglichen Schlosses zu Berlin.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eLange's rare work on Ferrara. 'The plates herein represent fancy-dress costumes for this 1843 recreation of a celebration at the Court of Ferrara, bedecked in Renaissance splendour.' (Bobins).\u003cbr\u003e\u003cbr\u003eFirst edition; folio, 42 hand-coloured lithograph plates, heightened with gum arabic, some trimmed a little short, some lightly foxed, contemporary half roan, neat repairs to extremities,, upper cover lightly stained, a good copy.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eBobins 585; Colas 1758; Lipperheide 2545.\u003c\/i\u003e","brand":"LANGE Edouard; FRENZEL, Wilhelm.","offers":[{"title":"Default Title","offer_id":49818939982129,"sku":"112133","price":4500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/112133_979d0103-46b6-464f-ba74-f8f32a1b6da6.jpg?v=1780917671"},{"product_id":"malpiere-chine-paris-1825-113552","title":"La Chine. Moeurs, usages, costumes, arts et metiers.","description":"\u003ch4 class=\"srb-faux-head\"\u003eBotfield copy, superbly bound\u003c\/h4\u003eRare. A superbly bound copy of La Chine by Malpiere, a work which is seldom found complete, and which consists 'of a huge collection of attractively lithographed copies of scenes from Chinese life of the mid-Ch'ing period' (Lust).\u003cbr\u003e\u003cbr\u003eIssued in 30 parts, each containing 6 hand-coloured lithographic plates, copied from the engraved plates in William Alexander's Picturesque representations of the dress and manners of the Chinese. In calling for 97 rather than 96 plates in volume II, Colas appears to be including the illustration 'L'union des sarcelles,' which is included on the plate list. In this copy, the plate 'L'hommage des Sarcelles', which accompanies the music, has no descriptive text, making the unnumbered leaves of text 94 in total rather than 95 as called for by Lipperheide or 96 by Colas.\u003cbr\u003e\u003cbr\u003eFirst edition; 2 volumes, 4to (34.5 x 24.7 cm.). 2 hand-coloured lithographed titles, 179 hand-coloured lithographed plates by Deveria, Regnier, Schaal, Schmit, and Vidal after Castiglione, Pu-Qua, W. Alexander, Chambers, and others, including a hand-coloured plan of Peking, 4 leaves of engraved music in vol. 2 with a hand-coloured title illustration: some spotting and browning as usual, 3 plates in vol. II with large splash marks; contemporary nineteenth-century red morocco gilt, covers panelled with foliate roll-tool borders gilt, spines gilt in compartments, green morocco lettering-pieces, gilt edges; spines sunned, a fine set.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eColas 1957; Cordier (Sinica) I, 69; Lipperheide 1532; Lust 60.\u003c\/i\u003e","brand":"MALPIERE, D. Bazin de.","offers":[{"title":"Default Title","offer_id":49902032486705,"sku":"113552","price":17500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/113552.jpg?v=1780918160"},{"product_id":"telingater-kirsanov-1930-114096","title":"Slovo Predostavliaetsia Kisanovu [Kirsanov has the 'right of word'].","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eAn attractive copy of one of the most striking books of the Russian avant-garde, rarely found in such fresh condition. \u003cbr\u003e\u003cbr\u003eA student of El Lissitzky, Telingater was awarded the Gutenberg Prize for his achievements and design of books and typefaces. This work combines typographic and photomontage design for the covers as well as inventive layout for the text.\u003cbr\u003e\u003cbr\u003eFirst edition, slim 8vo (20.4 x 9.2 cm); text by Kirsanov and design by Telingater; original printed wrappers with photomontage and typographic design by Telingater, small repairs to spine, otherwise a very good copy.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eRowell and Wye, 913.\u003c\/i\u003e","brand":"TELINGATER, Solomon; KIRSANOV, S. I.","offers":[{"title":"Default Title","offer_id":54805736096119,"sku":"114096","price":3000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/114096.jpg?v=1780921784"},{"product_id":"nicolay-navigations-1576-second-french-112327","title":"Les Navigations, Pérégrinations et Voyages,","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eA work whose illustrations helped shaped the West's popular imagination of the Islamic world. The artist, geographer and spy Nicolas de Nicolay (1517-1583) went to the court in Constantinople as part of an embassy from Henri II to the Sultan; Henri's predecessor had counted Suleiman as an ally and Henri wished to revive that accord. Nicolay's work, a combination of a travelogue with a survey of the Ottoman Empire, was first published in French at Lyon in 1567 and quickly translated into other European languages. His depiction of the Ottomans is less pejorative than other similar accounts although still interwoven at times with salacious details of sex, drugs and cruelty (lesbians at the hammam, the genital mutilation of religious ascetics, opium-laced sorbets, etc). The wooducuts are among the earliest representations of the inhabitants of Algiers, Tripoli, the Barbary Coast, Turkey, Greece, Persia and Armenia. Together with Le Hay's Recueil de cent estampes (1714), Nicolay's work forms 'the prototype for Levantine costume plates' (Atabey 429).\u003cbr\u003e\u003cbr\u003eSecond French edition; 4to (21.5 x 15 cm); title within typographical border and with a small device at foot, 60 full-page woodcuts in the text, contemporary vellum, yapp edges; later morocco label, spine darkened, splits to upper joint but firm, a very good, clean well margined copy.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eAtabey 871; cf. Blackmer 1196; Colas 2201; Gollner 1664; cf. Ioannou, II, 375; Koç, I, 18a.\u003c\/i\u003e","brand":"NICOLAY, Nicolas de.","offers":[{"title":"Default Title","offer_id":54827070390647,"sku":"112327","price":6500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/112327_910eac35-15a9-4d4f-a3a2-17d7de5e6863.jpg?v=1780918908"},{"product_id":"sanquirico-sceniche-decorazioni-pompei-milan-1832-114209","title":"Sceniche Decorazioni, Inventate ed Eseguite","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eThe magnificent collection of the stage sets of La Scala theatre in Milan by Alessandro Sanquirico (1777-1849), and the supplement with 8 plates showing the set design and costumes for the 1827 La Scala production of Giovanni Pacini's opera L'ultimo giorno di Pompei.\u003cbr\u003e\u003cbr\u003eAlessandro Sanquirico (1777-1849) was the set designer and principle scene painter of La Scala between 1817 and 1832, during which time he established himself as the foremost in his craft and heavily influenced his peers. Many of the sets within this work were created for premiers by the likes of Clerico, Pacini, Vigano, Mosca, Bellini, Rossini, Soliva, Pavesi, Mozart, and Mayerbeer. His designs established and defined the style of nineteenth-century opera, combining neo-classicism with the burgeoning Romantic movement. \u003cbr\u003e\u003cbr\u003eA definitive collation does not exist since each copy varies in the number of plates and their subject. There was no single publication date and different copies terminate at different years preceding Sanquirico's own retirement in 1832.\u003cbr\u003e\u003cbr\u003eTwo works in one, landscape folio (39.5 x 47.5 cm); manuscript title, 1 tinted aquatint plate, 8 fine hand-coloured aquatint plates, the odd spot to margins; manuscript title, 66 hand-coloured aquatint plates, very occasional spot to margins, otherwise clean internally; contemporary straight-grained red morocco panelled gilt with Greek key rolls, thin serrated and solid fillets, the outer frame punctuated with neo-classical shields, smooth spine gilt with double-gilt rules separating the spine into 8 compartments infilled with 6-pointed stars, a fine example.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eBobins V, 1513; Nagler XIV, p267; Ricci, La scenografia italiana II, 23.\u003c\/i\u003e","brand":"SANQUIRICO, Alessandro.","offers":[{"title":"Default Title","offer_id":54946163163511,"sku":"114209","price":65000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/114209.jpg?v=1780921097"},{"product_id":"lissitzky-iakoponskoe-kino-1929-113546","title":"Vystavka Iaponskoe Kino [Exhibition of Japanese Cinema].","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eA rare and sought-after exhibition catalogue designed by El Lissitzky to accompany the Exhibition of Japanese Cinema that took place in Leningrad and Moscow in the summer of 1929. The event represented an important cross-cultural exchange as the Soviets believed the Japanese film aesthetic could help them create films that could resist western influences. Only a handful of copies are found in institutions and notably absent from MoMA.\u003cbr\u003e\u003cbr\u003eFirst edition; oblong 8vo (14.7 x 21.1 cm); 24 pp. black \u0026amp; white photographs throughout, alternate leaves are 14.2 x 14.7 cm, text by N. Kaufman, D. Arkin, O.D. Kameneva and N.I. Konrad; original photographically illustrated card wrappers in black and yellow, some edge wear to covers and a little creased throughout, small closed tear to upper right of closing pages and lower wrapper, a very good unrestored copy.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"LISSITZKY, El.","offers":[{"title":"Default Title","offer_id":54987717902711,"sku":"113546","price":8500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/113546.jpg?v=1780917911"},{"product_id":"lefebure-durufle-excursion-normandie-paris-1823-114153","title":"Excursion sur les Côtes et dans les Ports de Normandie.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eThe most complete edition of this pictorial survey of Northern France. Abbey notes that although the book was published in Paris for the French market, Ostervald employed two British artists and four British engravers, reflecting the high reputation enjoyed by the British watercolourists and engravers in Northern France. \u003cbr\u003e\u003cbr\u003eThe exceptional plates include seven after Bonington and two after Copley Fielding. Twenty-two of the plates are engraved by the other Fielding brothers, Thales and Theodore, although precise attribution of four of them (which are simply signed Th. Fielding) is not possible. In any case the book is a masterpiece of topographical illustration.\u003cbr\u003e\u003cbr\u003eThis book was originally published in parts and according to Brunet appeared under the title Voyage Pittoresque dans le ports et sur les cotes de France, with the part on Rouen found separately.\u003cbr\u003e\u003cbr\u003eLefebure-Duruflé was born in Rouen which explains the devotion of the first part of this work, and his most extensive historical account, to that city. He went to Paris to study law and eventually entered politics and later become a prominent member of the liberal party.\u003cbr\u003e\u003cbr\u003eFirst edition; folio (47.5 x 30 cm); text in French, 40 hand-coloured aquatint plates, some watermarked 1823 and 1824, tissue guards, small faint water stain to upper margin not affecting contents, some plates slightly browned, textblock clean; later half straight-grained morocco, marbled boards, flat spine lettered in gilt, a touch of rubbing to extremities, a very good copy; [56]ff.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eAbbey (Travel), 92; Brunet II, 1130; Prideaux 276, 335.\u003c\/i\u003e","brand":"[LEFEBURE-DURUFLÉ, Noël-Jacques].","offers":[{"title":"Default Title","offer_id":54987718001015,"sku":"114153","price":19500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/114153_2669a55a-fa41-4a88-bfd1-5a1983ac2abe.jpg?v=1780917773"},{"product_id":"zienkowicz-costumes-polonais-paris-1841-114080","title":"Les Costumes du Peuple Polonais","description":"\u003ch4 class=\"srb-faux-head\"\u003e'un etat immolé mais une nation indestructible'\u003c\/h4\u003eThe first edition of one of the very few books on costumes of Poland Ukraine, Belarus and Lithuania.\u003cbr\u003e\u003cbr\u003eCompiled by the Polish political activist and literary critic Zienkowicz (1808-70), who fled to France during the Great Emigration, the work bears a strong political statement. Dedicated 'Aux amis de la cause polonaise', it begins with a lyric introduction defending the national character of Poland, 'this nation [which] no longer exists but in the regrets or hopes of the people'. Zienkowicz denounces in particular the 'cruel and ridiculous' Russian decree, which forbade the use of national costumes. His work further covers the history of Polish peoples and regional characteristics, but also analyses wider aspects: a whole chapter is dedicated to Polish music, another explains the social structure of the country and the book ends with the description of the Polish army.\u003cbr\u003e\u003cbr\u003eZienkowicz's text is accompanied by magnificent plates lithographed by John Nepomuk Lewicki (1795-1871) - an outstanding engraver, lithographer, draftsman and a leading Polish painter working in exile. The illustrations are highly finished, showing the different peoples in the region-specific costumes set against attractive backgrounds. \u003cbr\u003e\u003cbr\u003eAfter the Third Partition of Poland (1795) the Polish–Lithuanian Commonwealth was divided among Prussia, the Austrian Empire, and the Russian Empire, which effectively ended the Polish-Lithuanian national sovereignty until 1918. Russia's attempts to further suppress the country's political and cultural freedoms led to an armed rebellion in 1830–31, known as the November Uprising, in which Zienkowicz himself took part. The defeat of the uprising in autumn 1831 led to a mass emigration of the intelligentsia that became known as the Great Emigration.\u003cbr\u003e\u003cbr\u003eFirst edition; 4to (30 x 23.5 cm); 39 hand-coloured lithographed plates heightened with gum arabic by Simon after J. Lewicki and A. Wittmann, 2 leaves of music, plate captions in Polish, French, German and English, French bookseller's stamp to half-title, occasional marginal spotting; later calf-backed cloth boards, gilt spine with gilt lettering piece, later endpapers, a little rubbed, foot of spine professionally repaired, otherwise a very good copy; [8], 125, [2]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eColas 3115; Lipperheide 1391 \u0026amp; K63; Solovev Kat.105, 158a (70 rub.).\u003c\/i\u003e","brand":"ZIENKOWICZ, Leon Józef.","offers":[{"title":"Default Title","offer_id":54991994454391,"sku":"114080","price":5000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/114080_c1fe7da0-4327-4269-b08b-32f0f6275803.jpg?v=1780922986"},{"product_id":"jan-bleuland-icones-anatomico-physiologicae-first-edition-1826-114175","title":"Icones Anatomico-Physiologicae Partium,","description":"\u003ch4 class=\"srb-faux-head\"\u003eearly colour microscopy\u003c\/h4\u003eFirst edition of one of the earliest works on the anatomy of tissues rather than organs or organ systems, and one of the earliest microscopical works printed in colour. A never bound, unopened copy complete with all thirty plates and the original blue paper covers. Rare; only three copies have appeared at auction since 1992, one of which was incomplete, and WorldCat locates no institutional copies.\u003cbr\u003e\u003cbr\u003eJan Bleuland (1756-1838) attended the University of Leiden, where he learned the art of preserving anatomical specimens by injection under Eduard Sandifort. After graduating in 1780 he practised medicine in Gouda and taught anatomy, physiology, surgery, and obstetrics at the universities in Hardewijk and Utrecht.\u003cbr\u003e\u003cbr\u003e'During his career Bleuland published a number of illustrated anatomical works printed in colour, showing a special interest in the fine structure of healthy and diseased states of the organs and tunics of the digestive tract. Bleuland made a collection of over two and a half thousand anatomical preparations' which he used to prepare his publications, and which were later purchased by the government for the Utrecht anatomical museum (Meli, 'The Rise of Pathological Illustrations: Baillie, Bleuland, and Their Collections', Bulletin of the History of Medicine, volume 89, number 2, pp. 234-235). 'As in previous works he published, Bleuland was especially interested in the vascular structure of tunics and membranes and focused on what he called anatomia subtiliore, relying on microscopy' (p. 236). He took advantage of a variety of new printing techniques, including copperplate engraving, aquatint, and lithography, to create different visual effects, even for different illustrations within the same work. \u003cbr\u003e\u003cbr\u003eThe years of Bleuland's professional life 'witnessed major transformations both in medicine — involving notions of disease, hospital medicine, and clinical training — and in visual representations — with the rise of tonal printing processes and lithography' (pp. 209-210). His works 'occupy a significant role in the history of medicine: they reflected crucial transformation in the notion of disease, and, at the same time, played a key cognitive and heuristic role in those transformations by focusing on local lesions and structural changes' (p. 210).\u003cbr\u003e\u003cbr\u003eFirst edition; complete with 30 colour engravings with some colours applied by hand, contents clean; 5 unopened text fascicles with original unattached blue paper cover sheets printed in black, one cover with a portion of a contemporary library ticket attached, the covers creased and chipped along the edges and a little dulled, the whole never bound and housed in a custom cloth folding case by Bainbridge Conservation, very good condition; 93pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"BLEULAND, Jan.","offers":[{"title":"Default Title","offer_id":54991994618231,"sku":"114175","price":7500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/114175_27b1d1c4-330b-49c7-90d3-d9a7421c1e88.jpg?v=1780916210"},{"product_id":"james-benignus-winslow-anatomical-exposition-human-body-1734-114395","title":"An Anatomical Exposition of the Structure of the Human Body.","description":"\u003ch4 class=\"srb-faux-head\"\u003eleading 18th century anatomy\u003c\/h4\u003eReissue of the 1733 first English language edition with cancel title dated 1734, originally published in French as Exposition anatomique de la structure du corps humain in 1732. Illustrated with four attractive folding plates based on the works of Eustachius.\u003cbr\u003e\u003cbr\u003eJacques-Bénigne Winslow (1669-1760), 'one of the most brilliant anatomists of the eighteenth century', was born in Denmark but spent his career in France, serving as a professor of anatomy at the Jardin du Roi between 1742 and 1758. 'Among his numerous contributions in the field of human anatomy, the Exposition anatomique de la structure du corps humain (1732) had a great influence on anatomical literature for over a century' (Olry, 'Winslow's contribution...', Journal of the History of Neuroscience, August 1996). A copy of the 1756 London edition was one of the books sold by Thomas Jefferson to the Library of Congress in 1815.\u003cbr\u003e\u003cbr\u003eReissue of the 1733 first edition with cancel title dated 1734; 2 vols in 1 plus appendix, 4to, (24.5 x 19.5 cm); 4 engraved folding plates, second title printed in red and black, single leaf bookseller's ad at end of vol. I; contemporary ownership signature to the front pastedown, faint spotting to the title and early leaves, light partial offsetting to late leaves from turn-in, overall contents fresh; contemporary speckled calf, spine elaborately gilt in compartments with floral tools, red morocco label, double gilt fillets, red speckled edges, some rubbing and scuffing of the calf, upper joint worn but firm, very good condition; 182, 210, \u0026amp; 145pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"WINSLOW, James Benignus [Jacques-Bénigne]; DOUGLAS, G. (translator).","offers":[{"title":"Default Title","offer_id":55034919027063,"sku":"114395","price":1750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/114395_25077bc1-49f6-4c5d-9b76-61f4b318094c.jpg?v=1780916114"},{"product_id":"laennec-auscultation-mediate-first-edition-1819-115092","title":"De l'Auscultation Médiate","description":"\u003ch4 class=\"srb-faux-head\"\u003ethe invention of the stethoscope\u003c\/h4\u003eFirst edition of the announcement of the stethoscope's invention, 'the greatest advance in physical diagnosis between Auenbrugger [inventor of the percussive technique] and the discovery of X-rays' (Printing and the Mind of Man 280). With the original leaf a*2 rather than the cancel (matches the points given in Norman save for 'constat;' on the verso which has been corrected to 'constat,').\u003cbr\u003e\u003cbr\u003eRéné Théophile Hyacinthe Laennec (1781-1826) studied under Napoleon's physician, Corvisart, and was particularly interested in finding new methods of diagnosis. He was aware of Auenbrugger's discovery that percussing the thorax could indicate whether organs were diseased, and was further inspired when he saw children tapping a hollow log and listening at the other end. His first model was a simple tube of stiff paper, but he soon constructed a device of cedar wood which is illustrated in plate 1.\u003cbr\u003e\u003cbr\u003e'Remarkable as his invention was, what he did with it was even more important. While listening to the movements of the heart and lungs, he learned to understand the significance of the various sounds for which he created a terminology... He virtually created the modern science of the respiratory organs and their diseases' (PMM 280).\u003cbr\u003e\u003cbr\u003eFirst edition; 2 volumes, 8vo (20 x 12 cm); 4 folding plates in vol. I, small ink stain affecting the early leaves of volume 1, page 351\/352 torn with loss of the edge of the text, a little light spotting and toning throughout, particularly to plates; contemporary marbled boards, sheep backstrips, spines gilt in compartments, green morocco labels, ink stain to the edge of the upper board of vol. I, bindings rubbed with some wear at the ends of the spines, good condition; 456 \u0026amp; 472pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003ePMM 28; Garrison-Morton Medical Bibliography 2673; Norman Library of Science \u0026amp; Medicine 1253.\u003c\/i\u003e","brand":"LAENNEC, R.T.H.","offers":[{"title":"Default Title","offer_id":55034919551351,"sku":"115092","price":1850.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/115092.jpg?v=1780917641"},{"product_id":"114282","title":"Postcard from Diane Arbus to Art Director John Gerbino.","description":"\u003ch4 class=\"srb-faux-head\"\u003e'bold lusty outrageous radiant silly'\u003c\/h4\u003e'She was terrific. \/ The best thing is \/ her amazing dynamics \/ she is bold lusty \/ outrageous radiant \/ silly. All sorts of \/ things. Maybe you \/ should run more \/ than one.'\u003cbr\u003e\u003cbr\u003eAutograph postcard from Diane Arbus to art director John Gerbino after Gerbino commissioned Arbus in spring 1971 to photograph Barbara Hackman Franklin and Germaine Greer for features in New Woman magazine. 'Barbara Hackman Franklin, President Nixon's New Woman' ran, but the Germaine Greer photographs were not published.\u003cbr\u003e\u003cbr\u003eDiane Arbus confided to Allan Arbus that Greer 'was fun and is terrific looking but I managed to make [her] otherwise.' According to Arthur Lubow, when the magazine's publisher interviewed Greer 'she recoiled at the feminist's brashness.'\u003cbr\u003e\u003cbr\u003eIn 1964, Barbara Hackman Franklin was one of the first women to earn an MBA from Harvard Business School, one of only 12 women among 680 men in the first graduating class after faculty voted to allow women to study on the campus. After moving to New York, she held positions at the Singer Company and First National City Bank (now Citibank). The absence of professional networking opportunities for women led Franklin and her friend Charlotte Browne-Mayers of Standard Oil Company to organise their own networking group, hosting monthly meetings for former classmates and other working women. In 1971, President Richard Nixon appointed her to lead an effort to recruit and appoint more women for high-level government positions. Altogether, she has served in the administrations of five United States Presidents, and in 2017, Time Magazine named her one of the '50 Women Who Made American Political History'.\u003cbr\u003e\u003cbr\u003eDiane Arbus and John Gerbino began working together in 1964 when he was a designer at Harper's Bazaar. Later, as art director of Essence magazine, Gerbino commissioned Arbus to take photographs for two features: 'How Radical is Black Youth?' published in November 1970 and 'Conversation: Ida Lewis and Rev. Albert B. Cleage, Jr.' published in December 1970.\u003cbr\u003e\u003cbr\u003eAutograph letter signed on an unmailed postcard (139 x 88 mm, 5½ x 3½ in), light wear and creasing at corner, pinholes to top edge recto, mark from tape removal to lower edge.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eDiane Arbus: A Biography; Diane Arbus: Revelations; Diane Arbus: Portrait of a Photographer.\u003c\/i\u003e","brand":"ARBUS, Diane.","offers":[{"title":"Default Title","offer_id":55051071750519,"sku":"114282","price":7500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/114282_cc3f4b02-1770-4e48-8626-37d7494e185f.jpg?v=1780909326"},{"product_id":"114601","title":"Learning from Las Vegas.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eThis early manifesto of postmodernism was designed by Muriel Cooper (1925-1994), a pioneering graphic designer and one of the first designers to see the potential of computers as tools for inventing new ways to organise visual information. She was the first design director of the MIT Press, cofounder of the Visible Language Workshop at MIT, and the first woman to be granted tenure at MIT's Media Lab, where she taught a new generation of designers. Her work spans print to software interfaces. \u003cbr\u003e\u003cbr\u003eLearning from Las Vegas is compiled from research materials gathered in 1968 by students of a third-year graduate class at Yale School of Architecture, taught by Robert Venturi, Denise Scott Brown, and Steven Izenour. The class Learning from Las Vegas, or Form Analysis as Design Research, required the students to make a nonjudgemental study of the city and how it functioned, and their research was documented through photographs, films, maps, and diagrams. Muriel Cooper was tasked with translating the diverse materials from the studio into a book, initially planning for the book to be protected by a bubble wrap dust-jacket, with fluorescent dots on the boards.\u003cbr\u003e\u003cbr\u003e'The visual materials were not only graphically rich but as content-laden as the text, so the interdependent rhythms of those relationships were important. I wanted to arrange visual and verbal materials spatially in a nonlinear way to enhance the reader's comprehension.'\u003cbr\u003e\u003cbr\u003eRobert Venturi and Denise Scott Brown were unimpressed and enacted a complete, much more traditional redesign for the 1977 paperback second edition, dismissing Cooper's work in their preface. Cooper's reputation and legacy have grown and grown since.\u003cbr\u003e\u003cbr\u003eFirst edition; large 4to (354 x 269 mm, 14 x 10½ in); colour and black \u0026amp; white photographs, diagrams, plans and maps; plain endpapers; dark grey cloth-covered boards, titles stamped in gold on sides and spine, colour photographic reproduction mounted on upper side, publisher's printed glassine dust-jacket, tiny chip to rear flap at fold, nicks to head and foot, errata slip laid in, a fine copy in a remarkably well preserved example of the fragile dust-jacket, housed in a custom black cloth drop spine box.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eReinfurt \u0026amp; Wiesenberger, Muriel Cooper.\u003c\/i\u003e","brand":"VENTURI, Robert; BROWN, Denise Scott; IZENOUR, Steven; COOPER, Muriel (designer).","offers":[{"title":"Default Title","offer_id":55054003241335,"sku":"114601","price":4000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/114601_aea0512c-c932-4aa3-b742-a003c2b37ed4.jpg?v=1780909378"},{"product_id":"crosby-this-is-tomorrow-whitechapel-gallery-1956-114700","title":"This is Tomorrow.","description":"\u003ch4 class=\"srb-faux-head\"\u003epioneering multi-disciplinary exhibition which radically affected architectural and artistic practice in the 1950s\u003c\/h4\u003eScarce catalogue for the landmark exhibition at the Whitechapel Gallery (9 August - 9 September 1956), which signalled the birth of British Pop Art. 'This is Tomorrow' was organised by architect and writer Theo Crosby, who proposed an exhibition based on a model of collaborative art practice. The 38 participants included architects James Stirling, Alison and Peter Smithson, and Erno Goldfinger; artists Eduardo Paolozzi, Victor Pasmore, Sarah Jackson, Mary Martin, Nigel Henderson, Richard Hamilton and other members of the Independent Group; and architectural critic Reyner Banham formed 12 mixed groups who each worked together towards the production of an installation exploring the 'modern' way of living characterised by mass production, use of novel materials, and the daily maintenance of living space and the built environment.\u003cbr\u003e\u003cbr\u003eThe printed wrapper lists the exhibition's participants and the following statement:\u003cbr\u003e'An exhibition is to take place at the Whitechapel from 9th August to 9th September, 1956 which will result from the direct co-operation of architects, painters, sculptors and others.\u003cbr\u003eThe object of this exhibition is to explore the common ground between art and architecture and to search for that unity of vision and total sense of environment which alone can make further development possible. This exploration is one of ideas. To enlarge the existing art work to an architectural scale is, of course, meaningless.... As a point of departure for further experiment the exhibition should be valuable and controversial, and show a new interpretation of materials and space.'\u003cbr\u003e\u003cbr\u003eSuch an example of collaboration was still unusual at the time but provided a blueprint for a cross-disciplinary collaborative approach in architecture and art; the ripples of influence it created over 60 years ago still resonate today.\u003cbr\u003e\u003cbr\u003eFirst edition, one of 1300 copies; (165 x 165 mm, 6½ x 6½ in); illustrated throughout in black and white, design by Edward Wright slight age-toning to leaves; original spiral-bound printed covers, white and burgundy lettering to upper side, light wear to extremities, with an original kraft paper wrapper printed in black, near-fine; [126]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"[THIS IS TOMORROW.] CROSBY, Theo (editor).","offers":[{"title":"Default Title","offer_id":55060850049399,"sku":"114700","price":2500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/114700.jpg?v=1780912853"},{"product_id":"116436","title":"Collection of Ephemera.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eA collection of 25 pieces of ephemera relating to Araki's books, exhibitions, and audio-visual performances in Tokyo (1970-1996), and an invitation to a banquet of support in the wake of his wife Yoko's death. Including two invitations with gelatin silver photographs, two signed gelatin silver postcards and four related envelopes.\u003cbr\u003e\u003cbr\u003eAraki Nobuyoshi Kitchen Ramen Series 5th installment, Woman – Ikuyo Shoko, Lover - Otsuka WESE. October 3, 1970. [Tokyo], 1970. Exhibition announcement comprising a vintage gelatin silver photograph (102 × 232 mm, 4 x 9¼ in), sheet of photocopied text trimmed to the same size and stapled to the front. \u003cbr\u003e\u003cbr\u003eNobuyoshi Araki's Letter Art 5 Technicolour Paid Photo Exhibition Foreplay, April 28 to May 23. kebukuro Art Theater Coloring Book illustration exhibition at the men's and Women's toilets [Tokyo], [1971]. Exhibition announcement comprising a vintage gelatin silver photograph (102 × 232 mm, 4 x 9¼ in), partially coloured in ink, sheet of photocopied text trimmed to the same size and stapled to the front. \u003cbr\u003e\u003cbr\u003ePoster announcing the launch of the Geribara 5 book Benjo, together with Takase Yoshio's wedding engagement party at Gallery Shop Now, Tokyo. Tokyo, Fukushu-Shudan, Geribara 5, 1971. Poster (371 x 264 mm, 14½ x 10½ in) printed on both sides, folded once.\u003cbr\u003e\u003cbr\u003eSpaceship '72 Free Tatsumi Shiro, Araki Nobuyoshi Exhibition June 21st 1972. Tokyo, 1972. Poster (284 x 387 mm, 11¼ x 15¼ in). \u003cbr\u003e\u003cbr\u003eSuper Photographic Concert. Araki in collaboration with Shoji Sakamoto, Aoyama Tower Hall, Tokyo. July 3-4. Tokyo, [1972]. Flyer (257 x 182 mm, 10 x 7¼ in).\u003cbr\u003e\u003cbr\u003eSuper Photographic Concert. Araki in collaboration with Shoji Sakamoto, Aoyama Tower Hall, Tokyo. July 3-4. Tokyo, [1972]. Ticket (93 x 188mm, 3¾ x 7½ in).\u003cbr\u003e\u003cbr\u003eTokyo: Araki Nobuyoshi Photobook 3 [1973]. Publication announcement card (101 x 149 mm, 4 x 5¾ in) printed in offset. [And:] Pseudo Documentary Silver Halide Exhibition: Voice of a Cicada \/ Kinokuniya Gallery, Tokyo. August 13-14. [Tokyo], [1973]. Flyer (185 x 252 mm, 7¼ x 10 in). Contemporary photocopy on blue paper as issued, folded twice. Both items in the original printed Kinokuniya, envelope slit open along one short edge, addressed to Miyahiko. Miki with Araki's. name written at the bottom left corner. \u003cbr\u003e\u003cbr\u003eHaikyo ni Hana [Flowers in Ruins]. Tokyo, Fukushu-Shudan, Geribara 5 at Shimizu Gallery, [November] 1973. Poster announcing the exhibition (371 x 362 mm, 14½ x 14¼ in) printed recto only, folded twice. \u003cbr\u003e\u003cbr\u003eFlyer offering a set of six original photographs (250 x 300 mm, 9¾ x 11¾ in) in an edition of 50 sets, also mentioning Araki Photobook 3: Tokyo. Tokyo, [Fukushu-Shudan, Geribara 5], [November] 1973. Poster (265 x 190 mm, 10½ x 7½ in) printed recto only, folded twice.\u003cbr\u003e\u003cbr\u003eNotes on Taeko, Seibu Book Center, Tokyo, November 26 - December 9 1976. Tokyo, 1976. Exhibition announcement (198 x 169 mm, 7¾ x 6¾ in) printed in offset.\u003cbr\u003e\u003cbr\u003eTokyo Blues. 28 June - 4 July. Tokyo, Ginza Nikon Salon, 1977. Exhibition announcement (147 x 102 mm, 5¾ x 4 in), addressed in black ink on verso with stamp and postmark, autograph note in pink pen giving details of opening reception, light wear, near-fine.\u003cbr\u003e\u003cbr\u003eHot Wind in July: My Sweet Women; works by Araki and 4 Photographers with Gentle Eyes. Tokyo, Camp, 1978. Exhibition announcement (150 x 98 mm, 6 x 4 in), addressed in black ink on verso with postmark, light wear, near-fine.\u003cbr\u003e\u003cbr\u003eHot Wind in July: My Sweet Women; works by Araki and 4 Photographers with Gentle Eyes. Tokyo, Camp, 1978. Exhibition closing party invitation (149 x 100 mm, 5¾ x 4 in), addressed and with a note in black ink on verso with stamp and postmark, light wear, red mark on recto, near-fine.\u003cbr\u003e\u003cbr\u003eSigned gelatin silver photographic postcard (148 x 100 mm, 5¾ x 4 in), addressed and with a note in black ink on verso with stamp and postmark, signed and dated '85, with a small paint mark on recto, light handling, slight mirroring, near-fine.\u003cbr\u003e\u003cbr\u003eSigned gelatin silver photographic postcard (150 x 100 mm, 6 x 4 in), addressed and with a note in black ink on verso with stamp and postmark, signed and dated '86 in black ink on recto with couloured areas in blue, yellow, magenta, and green, titled 'GA Show', light handling, near-fine.\u003cbr\u003e\u003cbr\u003eArakinema: Tokyo-Story. Friday 26 December. Tokyo, Cinema Rise, [1986]. Announcement card (149 x 100 mm, 5¾ x 4 in), addressed in black ink on verso with stamp and postmark.\u003cbr\u003e\u003cbr\u003eArakinema 2. 26 Feb. Tokyo, Studio Mag, 1987. Announcement card (149 x 100 mm, 6 x 4 in), addressed in black ink on verso with stamp and postmark.\u003cbr\u003e\u003cbr\u003eInvitation to a banquet to support Araki after Yoko's death and to mark the publication of The First Year of Heisei. Sunday 29 April. Tokyo, Japan Publishing Club Hall, [1990]. Bi-fold invitation card (149 x 305 mm, 6 x 12 in), venue card giving location (149 x 100 mm, 6 x 4 in), together in an addressed, stamped and postmarked envelope.\u003cbr\u003e\u003cbr\u003eFaces vs Bodies. 19 January. Tokyo, Spiral Garden, 1996. Exhibition announcement, leaflet folded twice; Complete Works of Araki Nobuyoshi. Tokyo, Heibonsha, 1996. Publication announcement invitation (152 x 203 mm, 6 x 8 in), folding, together in an addressed, stamped and postmarked envelope.\u003cbr\u003e\u003cbr\u003eArakinema: Novel Photography, Studio Mouris Roppongi, Tokyo, Tuesday 9 July. Tokyo, Studio Mouris, [1996]. Announcement card (149 x 100 mm, 6 x 4 in), printed address label on verso with stamp and postmark.\u003cbr\u003e\u003cbr\u003eA diagram in black pen on a leaf of ruled paper giving f. stop and shutter speed instructions for different lighting conditions.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"ARAKI, Nobuyoshi.","offers":[{"title":"Default Title","offer_id":55069803479415,"sku":"116436","price":27500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/116436.jpg?v=1780909465"},{"product_id":"oscar-wilde-lady-windermeres-fan-first-edition-large-paper-116713","title":"Lady Windermere's Fan.","description":"\u003ch4 class=\"srb-faux-head\"\u003eone of 50 large paper copies\u003c\/h4\u003eOne of 50 large paper copies of Wilde's four-act comedy, first performed on Saturday, 20 February 1892, at the St James's Theatre in London. Like many of Wilde's plays, it bitingly satirises the morals of society.\u003cbr\u003e\u003cbr\u003eFirst edition, one of 50 large paper copies; small 4to (23 x 18 cm); ownership signature to limitation page, some browning to endpapers; publisher's straw coloured buckram with gilt decorations by Charles Ricketts, gilt lettering to spine, spine browned, very slight wear at head and foot of spine; a near-fine copy, housed in custom purple cloth chemise and matching quarter morocco slip-case.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eMason 358.\u003c\/i\u003e","brand":"WILDE, Oscar.","offers":[{"title":"Default Title","offer_id":55156839154039,"sku":"116713","price":9500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/116713_c6d11117-d6dc-4042-b3e4-3203490f59b5.jpg?v=1780919109"},{"product_id":"hans-bellmer-la-poupee-1936-116837","title":"La Poupée.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eLa Poupée evolved out of a series of events in Hans Bellmer's personal life: his cousin, Ursula Naguschewski, moving from Kassel to Berlin in 1932; an encounter with renowned dollmaker Lotte Pritzel and his attendance of a performance of Jacques Offenbach's Tales of Hoffmann, in which the protagonist falls in love with an automaton; and his mother shipping him his old toys. \u003cbr\u003e\u003cbr\u003eBellmer constructed several dolls, the first dating from 1933, which he assembled and photographed in strange and disquieting configurations. Ten of these photographs were published in Germany as Die Puppe (1934). It was Bellmer's cousin Ursula who, while studying at the Sorbonne in 1934, apparently first brought Bellmer's photographs to the attention of André Breton in Paris. In 1934, the Surrealist journal Minotaure published a portfolio of these images, and in 1936, one was published in an issue of Cahiers d'art devoted to the Surrealist object. Guy Levis Manos published this expanded French Edition with an introduction by Bellmer, translated by Robert Valencay. In February 1938, Bellmer left Berlin for Paris.\u003cbr\u003e\u003cbr\u003eFirst edition, number 76 of 100 copies with 5 hors commerce, this being one of 80 copies on papier rose; (159 x 123 mm, 6¼ x 4¾ in); 10 mounted gelatin silver photographs (116 x 77 mm, 4½ x 3 in), text translated by Robert Valençay; pink wrappers, light wear, peach printed folding cover with titles on upper side in black, light wear to extremities and folds, a near-fine copy in a custom box by Devauchelle; [44]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eLes éditions GLM, 1923-1974 no. 100; The Book of 101 Books: Seminal Photographic Books of the Twentieth Century pp88-89; The Photobook: A History I, p106; The Open Book p120-121; Paris, Les livres de photographies 1920-1950, p176-177.\u003c\/i\u003e","brand":"BELLMER, Hans.","offers":[{"title":"Default Title","offer_id":55156839252343,"sku":"116837","price":50000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/116837_d8e6b7d9-6e74-4b98-a38b-bc0da38e036e.jpg?v=1780914879"},{"product_id":"claude-levi-strauss-mythologiques-first-editions-inscribed-107123","title":"Mythologiques.","description":"\u003ch4 class=\"srb-faux-head\"\u003einscribed by the author to Georges Th. Guilbaud and René Leibowitz\u003c\/h4\u003eFirst edition of Lévi-Strauss' masterwork, a four-volume study tracking a single myth from the tip of South America and all of its variations from group to group north through Central America and eventually into the Arctic Circle. In it, he traces the myth's cultural evolution from one end of the Western Hemisphere to the other.\u003cbr\u003e\u003cbr\u003eLe Cru et le cuit is inscribed by the author on the half-title to his sometime collaborator, the mathematician Georges-Théodule Guilbaud: 'A G. Th. Guilbaud et au \/ groupe de mathématiques \/ sociales, \/ pardon pour l'algèbre ! \/ hommage amical \/ Levi Strauss'.\u003cbr\u003e\u003cbr\u003eThe remaining three volumes bear the author's signed presentation inscription to the renowned composer René Leibowitz, with whom Lévi-Strauss also collaborated: 'A René Leibowitz, au moment \/ d'une collaboration débutante qui \/ laisse craindre qu'au miel des pre- \/ miers projets ne succèdent des résultats les cendres, avec l'amitié \/ et l'admiration de \/ Claude Lévi-Strauss \/ 22\/III\/69' (Du miel aux cendres);\u003cbr\u003e\u003cbr\u003e'A René Leibowitz, en lui disant \/ ma confusion si il n'ait pas en ce livre \/ que j'ai abandonné à lui-même dès sa \/ publication survenue en pleines grèves \/ de juin 68, certain que l'esprit du \/ public était désormais ailleurs, et \/ résigné à le voir sombrer dans un \/ oubli qui ne justifiait pas un service \/ de presse, en très amical hommage \/ Claude Lévi-Strauss \/ 22\/III\/69' (L'Origine des manières de table);\u003cbr\u003e\u003cbr\u003e'A René Leibowitz, en \/ le remerciant pour son \/ aide. \/ Levi-Strauss' (L'Homme nu).\u003cbr\u003e\u003cbr\u003eA rare complete example of the author's most important work, inscribed in each volume to two of his collaborators, from the library of Pierre Bergé.\u003cbr\u003e\u003cbr\u003eFirst editions, first printings, inscribed by the author to Georges Th. Guilbaud (vol. I) and René Leibowitz (vols II-IV); 4 vols, 8vo; unmarked internally; original pictorial wrappers, extremities a little rubbed and tanned, small stain to top edge of rear cover of vol. IV, in the original glassine wrappers, a couple of nicks to extremities, else very good; housed in custom navy morocco-backed grey flat back folders and slipcases by Boichot.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"LÉVI-STRAUSS, Claude.","offers":[{"title":"Default Title","offer_id":55196754510199,"sku":"107123","price":4500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/107123.jpg?v=1780912671"},{"product_id":"beaumont-antiquities-harbours-france-london-1794-114104","title":"Select Views of the Antiquities and Harbours in the South of France;","description":"\u003ch4 class=\"srb-faux-head\"\u003erare in colour\u003c\/h4\u003eA lively survey of the South of France, giving special attention to the classical architecture of the cities and surrounding areas, with 12 accomplished hand-coloured views. Abbey describes its copy as uncoloured, and suggests the coloured plates are an earlier state.\u003cbr\u003e\u003cbr\u003e\"Jean François Albanis Beaumont, (1755–1812), engraver and landscape painter, may have been a son of, or related to, the Piedmontese artist Claudio Francesco Beaumont (1694–1766). He was born at Chambéry, entered the engineering school at Mezières, and in 1775 joined the Sardinian army as an engineer. At this time Sardinian territory extended into what is now Provence, and Beaumont was working as a hydraulic engineer at Nice, where he met the duke of Gloucester. In 1780 the duke engaged him as a teacher of mathematics and fortifications to his children; Beaumont then accompanied the duke on his travels in the Alps. Beaumont himself made several crossings of the region, and on one occasion travelled westwards along the Mediterranean coast into French territory. A few years later he travelled through the maritime Alps from Cuneo in Italy to Nice by the newly constructed road across the pass of Lanslebourg. In the 1790s he went through the Lepontine Alps, from Lyons to Turin.\u003cbr\u003e\u003cbr\u003eBeaumont's accounts of these journeys show a lively interest in the classical history of the area. He comments on benefits he has received from the works of other scientists active in the region, such as de Saussure, de Luc, and Pictet; he also remarks on the structural geology and mineralogy of the alpine regions and reports altitudes measured with his barometer. Published in large format, these accounts are embellished with maps drawn by himself (which he signed 'A. Beaumont, engineer') and by drawings in simple and sepia-washed versions, the latter coloured by Bernard Lory the elder.\u003cbr\u003e\u003cbr\u003eIn the early 1790s the duke of Gloucester took Beaumont to London, where he remained during the French Revolution. There he went into partnership with Thomas Gowland and employed Cornelius Apostool as engraver, publishing views of Switzerland, Mediterranean France, and Piedmont. He afterwards took to landscape painting, and in 1806 exhibited A Storm at Sea in which the waves were considered very realistic. Under the empire he retired to La Vernaz, in the Haute Savoie, where he reared sheep. In 1808 he was rewarded by the emperor for having acclimatized black merino sheep in that region. He died in 1812\" (ODNB).\u003cbr\u003e\u003cbr\u003eFirst edition; folio (42 x 29.5 cm); complete with additional engraved title, 1 engraved letterpress plate, 12 hand-coloured aquatint plates, and 2 hand-coloured engraved plans, some offsetting not affecting legibility of text, small marginal tear to first plan; contemporary straight grained full green morocco, boards tooled in gilt, gilt spine in seven compartments with gilt morocco lettering piece, turn-ins rolled in gilt, upper hinge staring to split causing a little loosening to first gathering, extremities slightly rubbed, otherwise a very good copy; 56pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eAbbey (Travel), 51; ESTC T88544.\u003c\/i\u003e","brand":"ALBANIS de BEAUMONT, Jean François.","offers":[{"title":"Default Title","offer_id":55203895869815,"sku":"114104","price":3750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/114104_3d25155a-9db0-4d08-a044-dd38a18e8488.jpg?v=1780911404"},{"product_id":"117472","title":"Les Capitales de l'Europe.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eA charming set of guide books with hand-coloured views of each city in question: Constantinople, Rome, Vienne, Madrid, Berlin, London, St. Petersburg, and Paris.\u003cbr\u003e\u003cbr\u003eFirst edition; 8 volumes, 12mo (15.5 x 9.5); each with hand-coloured aquatint frontispiece, text in French; publisher's multi coloured cloth bindings, housed in a gilt and morocco box with additional hand-coloured plate to front cover, a little rubbed, a very good set.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"MALO, Charles.","offers":[{"title":"Default Title","offer_id":55261559685495,"sku":"117472","price":2750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/117472.jpg?v=1780909619"},{"product_id":"nobuyoshi-araki-abcd-inscribed-edition-of-20-2003-117102","title":"ABCD.","description":"\u003ch4 class=\"srb-faux-head\"\u003eone of 20 copies signed by Araki - inscribed by Andrew Roth to Glenn Horowitz\u003c\/h4\u003eA presentation copy inscribed: '6\/4\/03 \/ Glenn \/ Time you learned the \/ alphabet – \/ from Roth (the book publisher)'. Andrew Roth and Glenn Horowitz were partners in Roth\/Horowitz, a bookselling firm and gallery in New York. \u003cbr\u003e\u003cbr\u003eABCD is a facsimile of four of Araki's early 1970s notebooks containing enlarged contact prints from 94 rolls of film. The negatives were processed using an overheated developer solution, which caused the film's emulsion to fracture unpredictably. This physical degeneration of the images suggests an existential interpretation as if they had survived a cataclysmic event or were left after one of the bombs. \u003cbr\u003e\u003cbr\u003e'There is little epiphany in the interpretation of subject matter, shifting from generic urban landscape to sexual acts. The marriage of the mundane and the erotic is at the core of Araki's canon and here, in 1972, he is laying the conceptual foundation for all future work'.\u003cbr\u003e\u003cbr\u003eFirst edition, number 6 of 20 copies, signed \u0026amp; numbered by Araki in black ink on a piece of yellow card tipped in to vol. I, a presentation copy inscribed by Andrew Roth to Glenn Horowitz; 4 vols. (294 x 363 mm, 11½ x 14¼ in); black \u0026amp; white photographs; spiral-bound photo-illustrated boards, publisher's red glassine wrapping, minor wear, publisher's cardboard box titled and numbered in black ink to verso of lid; fine. [68]; [70]; [70]; [70]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"ARAKI, Nobuyoshi.","offers":[{"title":"Default Title","offer_id":55266477212023,"sku":"117102","price":10000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/117102.jpg?v=1780918946"},{"product_id":"man-ray-alphabet-for-adults-inscribed-1948-117442","title":"Alphabet for Adults.","description":"\u003ch4 class=\"srb-faux-head\"\u003einscribed to James Thrall Soby\u003c\/h4\u003eAn exceptional association copy, inscribed by Man Ray to James Thrall Soby, an important patron of the avant-garde in the United States who published the artist's first photobook, Photographs by Man Ray 1920 Paris 1934: 'for James T. Soby \/ cordially Man Ray Jan 1949'. Designed while Man Ray was living in Hollywood and published in December 1948, Alphabet for Adults was printed by pioneering California lithographer Lynton R. Kistler and produced for the Copley Galleries, who had hosted the artist's one-man show earlier the same year.\u003cbr\u003e\u003cbr\u003eFirst edition, first printing, one of 500 copies, inscribed by the artist; 4to; 40 leaves, comprising title leaf, text leaf, and 38 leaves with black and white illustrations by Man Ray; original beige linen-backed buff boards, spine lettered in black, pictorial design to front cover in black, glassine wrapper; near-fine.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"MAN RAY (pseud. RADNITZKY, Emmanuel).","offers":[{"title":"Default Title","offer_id":55266485174647,"sku":"117442","price":2750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/117442.jpg?v=1780918167"},{"product_id":"alfred-stieglitz-america-and-inscribed-first-edition-1934-117449","title":"America and Alfred Stieglitz.","description":"\u003ch4 class=\"srb-faux-head\"\u003epresentation copy\u003c\/h4\u003eA presentation copy, inscribed to abstract realist painter De Hirsh Margules and his sister Annette, both active in Greenwich Village social circles:\u003cbr\u003e\u003cbr\u003e'Why am I asked to ruin this \/ nice clean book? And why do I \/ acquiesce? And why will the \/ printer turn out spotty pages of \/ illustrations? And why \/ must I when seeing them feel \/ impelled to \"retouch\" them \/ \u0026amp; or cover up the faults of \/ one not caring? Oh why oh \/ why? - In spite of why, I \/ think this Book a Book - \/ It is a Book - so a \/ rare event - in my life \/ \u0026amp; all the lives of those \/ who may see the Book \/ whether they know it or not. \/ [?]. For Margules - \/ him \u0026amp; her — \/ [signed] Stieglitz \/ Dec. 2 1934 \/ An American Place'.\u003cbr\u003e\u003cbr\u003eDe Hirsh Margules (1899-1965) was born in Romania and arrived in New York City with his parents aged ten months. In 1929, he met Alfred Stieglitz, who quickly became one of his most trusted friends and advisors. Between 1936 and 1937, Margules established 'Another Place,' an exhibition space set up in his New York City apartment at 43 West 8th Street, which showed fourteen solo exhibitions by Margules and other artists.\u003cbr\u003e\u003cbr\u003eFirst edition, presentation copy with a lengthy inscription in black ink on the first page; 8vo (234 x 155 mm, 9¼ x 6 in); 64 pages of black \u0026amp; white plates; black topstain, plain endpapers, hinges cracked, black cloth-covered boards, titles in silver and design stamped to spine in blind, Stieglitz's monogram in blind to upper board, corners bumped, light wear to extremities, dust jacket illustrated with photographs and reproductions of artworks, printed in black and silver, text in black and white, chipped and worn, a very good copy; [ii], x, 339, [1]pp.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"(STIEGLITZ, Alfred).","offers":[{"title":"Default Title","offer_id":55266486190455,"sku":"117449","price":3000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/117449.jpg?v=1780910530"},{"product_id":"jacob-aue-sobol-tokyo-book-dummy-2007-117074","title":"Extract from the book project Tokyo. To be completed in 2007...' [First book dummy].","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eThis book dummy is inscribed to a collector: 'First dummy of Tokyo \/ NY June 19th 2007 \/ [signed] Jacob Aue Sobol \/ 1\/5'. The series was published the following year as I, Tokyo (2008).\u003cbr\u003e\u003cbr\u003eJacob Aue Sobol was born in Copenhagen, Denmark, in 1976. His photographs focus on the universality of human emotion and the search for love within often harsh surroundings. He joined Magnum Photos as an associate in 2007 and became a full member in 2012.\u003cbr\u003e\u003cbr\u003eBesides his native Denmark, Aue Sobol has settled for long periods in Canada, Greenland, Guatemala, Japan, Thailand, and Russia. In 2006, he moved to Tokyo and spent eighteen months making photographs that explore his loneliness and need for connections in the confined reality of the Japanese capital.\u003cbr\u003e\u003cbr\u003e'Initially I felt invisible. Each day I would walk the streets without anyone making eye-contact with me. Everyone seemed to be heading somewhere – it was as if they had no need of communication. Most mornings I would take the Chuo-line from Nakano to Shinjuku, and even though the train would be packed with salary-men and school girls in uniform, I rarely heard a word being spoken.\u003cbr\u003e\u003cbr\u003eAnd so I began taking my pocket camera out with me on the streets and in the parks. Rather than focusing on the impressively tall buildings and the eternal swarm of people, I began searching for the narrow paths and the individual human presence in a city that felt both attractive and repulsive at the same time.'\u003cbr\u003e\u003cbr\u003eBook dummy, inscribed by Sobol in black ink on first page with a printed title label; (300 x 210 mm, 11¾ x 8¼ in); 51 black \u0026amp; white photographs printed in inkjet (incl. covers), leperello-bound with tape, occasionally loosened, loose in photo-illustrated wrappers, poster for 'Book Dummies' exhibition curated by Victor Sira at the International Center of Photography, New York (25 October - 27 November 2008). laid in, near-fine.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"SOBOL, Jacob Aue.","offers":[{"title":"Default Title","offer_id":55276843663735,"sku":"117074","price":1750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/117074_ea894ab4-a43c-47ab-b940-6af31072a8c4.jpg?v=1780916065"},{"product_id":"ray-johnson-untitled-the-ultimate-protest-ca-1964-117090","title":"Untitled (The Ultimate Protest).","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eRay Johnson (1927-1995) was an accomplished draughtsman, collagist, cut-up poet, and occasional performance artist who collaborated with a range of artists on the fringes of the avant-garde. He was at the centre of a far-reaching mail art network – The New York Correspondence School, which he founded in the early 1960s.\u003cbr\u003e\u003cbr\u003eMixed media collage on paper (approximately 104 x 148 mm, 4 x 6 in), framed.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"JOHNSON, Ray.","offers":[{"title":"Default Title","offer_id":55276844581239,"sku":"117090","price":3750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/117090.jpg?v=1780920354"}],"url":"https:\/\/shapero.com\/en-us\/collections\/slam-2025-full-catalogue.oembed?page=2","provider":"Shapero Rare Books","version":"1.0","type":"link"}