maandag 15 juli 2019

Escape from Circumstances Karl Lagerfeld Photography


Steidl (2000), Editie: 1st, 48 pagina's

"Photography is part of my life – it completes the circle between my artistic and professional restlessness." Karl Lagerfeld

SCAD Museum of Art presents an exhibition of photography by renowned designer and creative director Karl Lagerfeld. The exhibition selects 13 large-scale prints from the museum’s permanent collection. The images are chosen from two bodies of work — "Menagerie de Verre" and the "Yves Klein" series.

In these photographs, Lagerfeld blends artistic and literary tropes, haute couture and narrative. In the "Yves Klein" series, models are adorned with an intense blue, a nod to International Klein Blue. This color is an iconic, specific blue tone named and created by French artist Yves Klein after his discovery of suspending ultramarine in resin to retain its intensity. The "Menagerie de Verre" series positions models in languid poses in mirrored dance studios, dressed in haute couture reminiscent of ballet costumes. The series’ English title "The Glass Menagerie" may reference Tennessee William’s famed play, or the mirrored surfaces reflecting the poses of the models.

This exhibition is part of SCAD deFINE ART 2019, held Feb. 26–28 at university locations in Atlanta and Savannah, Georgia.

ABOUT THE ARTIST
Lagerfeld (1933–2019) was an internationally known designer, artist, creative director and cultural figure. He was a staple in the fashion world, and collaborated on many art, fashion and theatrical projects throughout his career. Born in Germany in 1933, he was hired in 1955 as designer Pierre Balmain’s assistant. He went on to design haute couture collections at Jean Patou, Chloé, Curiel and others. Lagerfeld collaborated with Fendi starting in 1965, and was the creative director of Chanel starting in 1983, and was designer for his own eponymous brand. His photography includes both commercial and fine art fields. Lagerfeld photographed Mariah Carey for her 2005 V Magazine cover, and shot for the lines under his direction: Chanel, Fendi and Karl Lagerfeld.
Karl Lagerfeld, "From Serie Menagerie de Verre (Jean Paul Gaultier Haute Couture)," digital print, 60" x 48", 2002. Gift of Karl Lagerfeld.
















zondag 14 juli 2019

The Poetry of Photography POESIE DER PHOTOGRAPHIE Lucien Clergue

Lucien Clergue toros muertos. Maquette préparatoire de l’ouvrage toros muertos, composé de 25 photographies, tirages argentiques d’époque, mise en page par l’auteur. Album 245x310mm Estimation 8000-10000 €




Lucien Clergue was born into the family of a grocer in Arles, southern France, on August 14, 1934. His parents separated when Lucien was 7. His mother was disabled and all her life dreamed of a better lot for her son. She wanted him to be famous and to have a career in the arts. At 7, he started taking classes from a famous local violinist: his mother wanted her son to go to the conservatoire and become a composer.
Lucien Clergue Kunsthaus Vienna 2007 300x208 Lucien Clergue ★
Lucien Clergue
Life willed differently, though. At 16, Lucien had to quit school and start working at their grocer’s shop, which his mother could no longer manage. Then he found a job at a factory to earn a living for himself and his mother. In 1952 his mother died. Lucien had to work at the factory until he was 25.
It was his mother who had gifted an old camera to Lucien when he was 13. A local dealer in cameras taught him how to use it and gave him his first lessons in photography. He saw Lucien’s sincere interest in the magic equipment and allowed him to use cameras from his shop until they were sold.
Clergue was generally lucky in having meetings that influenced his life. He was quite young when all the most important events and acquaintances occurred and plunged him into creative endeavors.  At 18, he met the writer Jean Marie Magnan, who was to support and guide him throughout his career. He told Lucien about the artistic environment of Paris, Picasso and Cocteau, Jean-Paul Sartre and the existentialists. The artist André Marchand told him about the photographers Man Ray, Marie-Laure de Noailles and Jean-Louis Barrault. At that time Lucien dreamed of a filmmaker’s career, inspired by movies of Roberto Rossellini, Vittorio De Sica, Luchino Visconti and Federico Fellini.
Clerque El Cordobes 300x239 Lucien Clergue ★
Lucien Clerque: El Cordobes. 1963
In 1953, leaving the Arles bullfighting arena, Lucien dared to approach the 62-year-old Picasso and show him his photographs. Picasso seemed interested and allowed Lucien to show him his works in two years’ time. Clergue worked throughout that period to prepare a portfolio and to live up to the Master’s expectations. He took pictures of everyday life in his native Provence and of postwar ruins. In 1954 he did a series of photographs of the production of The Death of Julius Caesar after Shakespeare, staged by Jean Renoir for the 2000th anniversary of Arles. His debut series of photographs, the “Saltimbanques”, presented traveling entertainers, acrobats and harlequins on the ruins of Arles.
When the period of probation was over, the young photographer finally met the artist of world renown. On November 4, 1955, they talked for more than five hours in Picasso’s house in Cannes, as a result of which Picasso promised to design a cover for Clergue’s first book and a poster for his first exhibition. Picasso kept his word. True, the organizers of the exhibition banned the poster. That meeting led to their real friendship that lasted for 30 years until Picasso died. In 1992 Clergue published a book, Picasso my Friend, to mark the 20th death anniversary of the Master.
clergue picasso tm Lucien Clergue ★
Lucien Clergue: Picasso à la cigarette, Cannes, 1956
For years Clergue became a protégé of Picasso, who introduced the young man to his friends. Thus, Jean Cocteau, who saw a photo artist in the young man, became a spiritual director for Clergue in 1956. Until Cocteau died in 1963, the two of them had been corresponding frequently, with Cocteau giving advice and recommendations to Clergue on behalf of his own and Picasso, with whom he discussed Lucien’s works.
Clergue’s first book was Corps mémorable. Poems by Paul Éluard, with a cover by Pablo Picasso and an introductory poem by Jean Cocteau. Lucien presented this book to Max Ernst, who bought his series Flamant morte sur la plage and became one of the first collectors of his works.
In 1959 Clergue did a series of photographs for Jean Cocteau’s film The Testament of Orpheus, in which he saw much that was close to his perception of life.  Mirrors, through which one could enter the kingdom of the dead, were a metaphor for his own quest of the meaning of life. In the ruins of the castle he saw his parental home destroyed in the bombing of Arles.
This past spring (2011) we had a chance to see those works during the Fashion and Style in Photography festival at Moscow’s Multimedia Art Museum. Of course, one series of photographs is not enough to pass judgment on Clergue’s works.
In 1956 Lucien met Georg Schmidt, director of the Kunstmuseum Basel, in the castle of the British art collector Douglas Cooper, a friend of Picasso’s. Clergue was invited to exhibit at the museum. His exhibition received 25 negative versus three positive reviews. However, every cloud has a silver lining: the museum simultaneously hosted the famous “Family of Man” exhibition, which had been brought from New York by the photographerEdward Steichen, MoMA’s photography department curator. He bought ten photographs from Clergue’s exhibition for the МoМА collection. At the same time Schmidt passed on to Clergue an invitation from a certain Dr. Willy Staehelin to take pictures of his house built of glass and concrete after a design by the architect Marcel Breuer, who had taught at the Bauhaus in the 1920s. Thus, the flopped exhibition brought Clergue into contact with important people who largely influenced his life.
In 1961, at the invitation of Edward Steichen, Clergue exhibited at “Diogenes with Camera No. 5” at МoМА, New York, together with Bill Brandt and Yashuhiro Ishimoto.
In 1962 Lucien Clergue launches a 60-min. TV program À propos de la Ville d’Arles. Journal de voyage.
In 1963 two books of Clergue – photographs for The Birth of Aphrodite by García Lorca and Toros Muertos by Jean Cocteau – are published practically simultaneously in Paris, Stuttgart and New York. On the basis of his photo sessions in New York and Rio de Janeiro Lucien designs a collection of kerchiefs and scarves for Givenchy. In all fairness it should be pointed out that Clergue always rejected commercial offers from the Vogueand Paris Match magazines, guarding his independence as a photo artist.
The signal Camargue/Marais series of photographs appeared in 1965.  That same year Clergue undertook to develop photo art culture – on his initiative and with his direct involvement the Musée Réattu in Arles set up a department of photography. After his friend Jean-Maurice Rouquette had been appointed museum director, Clergue had the idea of building a top-class collection of photographs in the museum. He wrote to forty of the world’s greatest photographers to solicit gifts for the museum collection. Practically all of them obliged and sent their works, including Henri Cartier-Bresson. A rich American collector made a gift of a collection of photographs, among them many works of Edward Weston.
In 1966 Clergue received the Prix Louis Lumière for his first black-and-white short film Le drame du taureau, released a year earlier. The French TV airs two programs about Clergue’s works.
In 1969 Clergue became director of the Arles festival and, together with Jean-Maurice Rouquette and the writer Michel Tournier, organized the Rencontres d’Arles seminars for photographers. This festival of photography has become a landmark event that for more than forty years has been staged in Clergue’s native town.Lucien+Clergue+Curated+Christian+Lacroix+Vernissage+9n6c0M5fiXNl Lucien Clergue ★
In 1970 Clergue made a round-the-world journey, during which he met in Carmel the American photographer Ansel Adams, famous for his landscape photography, in particular his illustrious pictures of the Grand Canyon and theYosemite National Park (California). Adams attended the Arles festival in 1974 and 1976 while Clergue came to work in his Yosemite studio several times between 1971 and 1983.
In 1974 Clergue began to teach first at the University of Provence in Marseilles and then, in 1982, opened the National School of Photography, where he held a professorship. In 1983 he lectured at the Ansel Adams School in Carmel. In 1990 Clergue became the first foreigner to teach at the Osaka School of Photography (Japan).
Clergue invariably takes part in conferences on Pablo Picasso and Jean Cocteau as a loyal friend and one of the few contemporaries of theirs who is still alive. He is also a permanent member of numerous photo contests in Europe, Asia and America, conducts photo conferences and mounts exhibitions at many American universities.
Years passed by but Clergue’s interest in the cinema, another visual art, endured. In 1967 he made a film, Delta de sel, which was shown at the Cannes festival and nominated for an Oscar. In 1990 he made a film about the bullfighter Jésulin de Ubrique.
An indefatigable experimenter, Clergue began to make Polaroid pictures (including large-format ones) when he developed eye problems in the early 1980s . He also experimented with overlaying images and took up photo collage.
In 1975 he ventured into color photography in addition to his exclusively black-and-white pictures made earlier.
True to his passion for music, Clergue continues to play the violin and takes part in unique musical performances. In 1992 he presented his Provence – 4 Seasons slideshow within the framework of les Provenciades to the accompaniment of the Marseille Symphony Orchestra. In 1993, together with pianist Kochoyan, Clergue produced an audio-visual performance Jazz y Toros at the Nîmes Opera Theater, later shown at the Arles Festival of Photography.
Stage design is also in the focus of Clergue’s attention. He made stage sets for the following ballets:
Le Jour où la terre trembla (Ballets Modernes de Paris, 1959);
Orlando Furioso (La Fenice Theater, Venice, Italy, 1972);
Le Fils du Vent after Jean Cocteau (1963, remained unproduced because of Cocteau’s death).
For years on end portrayal of female nudes has been a favorite theme with Clergue. He photographed nudes in the woods, the sands of the Nevada desert, in sea waves, and in Paris and New York streets, emphasizing bodily shapes by the play of light and shade in the Zebra nude series. In his countless trips around the world Clergue developed the theme with different models, opening workshops in various cities. His devotion to this theme has won him scandalous reputation – the Fidel Castro administration barred him from visiting Cuba in 2001.
His works are in many museum and private collections. In 1975 the National Museum of Modern Art purchased 60 of Clergue’s photographs for the Centre Georges Pompidou collection. In 1994 New York’s MoMA received a gift of ten photographs of Clergue. That same year the European House of Photography of Paris acquired six photographs of bullfights.
Clergue’s fans are largely indebted to his first Swiss collectors and patrons, Marina and Willy Staehelin and Charlotte and Dr. Willy Reber. They began to buy Clergue’s photographs from the Zurich exhibition in 1960 and from the Basel exhibition in 1961 and continued collecting his works for 35 years. Such stable financial support at the start of his career meant a lot for the young photographer and enabled him to remain an independent photo artist for long. Dr. Willy Reber died in 1995 and Willy Staehelin in 1996. Charlotte Reber decided to preserve the collection intact and gave it as a gift to the Harvard University Art Museums in 1996. Marina Staehelin AVT Lucien Clergue 8535.pjpeg  200x300 Lucien Clergue ★offered the collection to several Swiss museums, but unfortunately none of them could afford buying the whole of the collection, as a result of which many photographs and portfolios were auctioned by Christie’s, Sotheby’s and German and Swiss auction houses. The antique market was already familiar with Clergue: from 1995 on Sotheby’s and Christie’s (New York), Maitre Beaussant Lefèvre and Tajan (Paris) and Maitre Fleck (Marseilles) have had his works on offer.
Clergue has published 75 books, both illustrating literary pieces and albums of his photography.
Lucien Clergue has made a great contribution to the development and popularization of French photo art and has been highly appreciated at home. In 1980 President Valéry Giscard d’Estaing of France awarded him the Order of Merit, in 2003 Clergue became the holder of the Order of the Legion of Honor, and in 2006 became the first photographer to be elected to the Académie des Beaux-Arts de France. He is also a member of the Arles Academy of Arts (1974).




Les hommes et les femmes de Lucien Clergue from Les Rencontres d'Arles on Vimeo.


Lucien Clergue, Toros muertos, Éditions Forces vives, Paris, 1963 [postfaces de Jean Cocteau et Jean-Marie Magnan]. Aperçu de l’ouvrage.
Réalisée par Jean Petit, cette plaquette publiée à Paris aux Éditions Forces vives en 1963 réunit vingt-huit photographies de Lucien Clergue et s’achève par les postfaces de Jean Cocteau et de Jean-Marie Magnan, tous deux proches de Clergue et aficionados comme lui. À ce propos, Cocteau écrit : « Il m’est arrivé, aux arènes de Nîmes et d’Arles, au lieu de regarder le duel central, de suivre Clergue en chasse autour de la piste. Rien de plus singulier que ce spectacle d’un merle à qui le bec jaune d’une casquette ajoute une ressemblance, sautillant et vif, son œil rond tendu vers les moindres manifestations de l’extraordinaire » (Jean Cocteau, Lucien Clergue, catalogue de l’exposition organisée par Pierre Chanel, Lunéville, 1964).














CLERGUE, Lucien. El Cordobes. (Paris): Le Jeune Parque, (1965). Small square quarto, original red paper-covered boards.
First edition, Clergue’s brilliant photobook of famed matador El Cordobés, with 77 dramatic black-and-white photogravures of the charismatic torero whose courage made him a legend.
A founding member of Expression Libre in 1964, Lucien Clergue has produced, in El Cordobesand in works such as Toros muertos (1962), singular photobooks where he “transports us right into the ring” and captures some of “what are arguably the best photographs ever taken of the bullfight” (Parr & Badger I:219). Here Clergue follows the matador Manuel Benítez Pérez—El Cordobés—whose celebrated courage and flamboyance in the ring made him the most highly paid torero in history by the time of his retirement in 1971. With essays by Paco Tolosa, Robert Marteau, Jean-Marie Magnan, J.-M. Goudard and D. Maïsto. Text in French.


zaterdag 13 juli 2019

Box of Pin-ups David Bailey Snapping the Sixties: A Decade of Rare Photography


Snapping the Sixties: A Decade of Rare Photography
Box of Pin-ups by David Bailey (1965)
Box of Pin-ups
by David Bailey (1965)
Some of the most famous photographs ever taken were captured during the Sixties. This decade of huge cultural and political change saw photographers driving forward the cult of celebrity and yet also demanding answers over major problems like the Vietnam War and South Africa’s Apartheid.

London’s David Bailey was almost as famous as the pop stars and skinny models that he photographed. New York’s Andy Warhol also embraced the camera as the Pop Art movement continued to grow. Established photographers like Robert Frank, Ansel Adams, Irving Penn and Paul Strand all continued to create memorable images.

Many photographers were taking an introspective view of America and its problems – Ed Ruscha’s art and photography heavily featured southern California and its rapid growth. Others were quite simply fascinated by beautiful girls although photographs of beautiful men, from surfers to bodybuilders, were commonplace. Swing back to the 1960s with these classic photography books.

See also

The 10 Most Collectible Photography Books of All Time by Richard Davies



David Bailey (b.1938),
'DAVID BAILEY'S BOX OF PIN-UPS', 1965
Thirty-five half-tone prints in original box, worn, together with cardboard insert stamped 'packing piece to be thrown away', each printed with text by Francis Wyndham, the box illustrated with a portrait of Bailey by Mick Jagger, and a portrait of Mick Jagger by Bailey, missing Andy Warhol
each 36.8 x 31.7cm (35)













Photography Books from the 1960s

America and Americans
by John Steinbeck with photos by Ansel Adams (1966)
The Viking Press, New York, 1966. Hardcover. 1st Edition, 1st Printing. 4to - over 9" - 12" tall. 207 p. This was the last of Steinbeck's books published during his lifetime, the text is illustrated by Ansel Adams, Alfred Eisenstaedt, Henri Cartier-Bresson, Art Shay, Gordon Parks, and many others; it is a homage to the "many faces of the United States, its scenic beauty as well as its human variousness, and above all its vitality" (from the dust jacket flap). First issue binding with the author and title in gilt running down the spine. ***DESCRIPTION: Blue and green cloth binding with author, title and publisher in gilt on spine, pictorial endpapers showing map of the United States, dustjacket echoes the blue and green colors in three bars top and bottom, with the title in black and black and white photos in the middle, photographer credits on the back of the jacket along with a photo of Steinbeck by Paul Farber. ***CITATION: Goldstone & Payne A43a, Morrow 271. 


Andy Warhol�s Index
by Andy Warhol et al (1967)
Random House, New York, 1967. Hardcover. 1st Edition. First edition, first printing. Signed in black ink opposite the title page by Stephen Shore. Hardcover. Photographically illustrated paper-covered boards with tipped on 3-D photographically illustrated plate on cover and title stamped in silver on spine; no dust jacket as issued; missing original printed plastic bag. Contributions by Andy Warhol, Stephen Shore, Billy Name, Nat Finkelstein, Paul Morissey, Ondine, Nico, Christopher Cerf, Alan Rinzler, Gerald Harrison, Akihito Shirakawa and David Paul. Unpaginated (74 pp.), with pop-ups, fold-outs and affixed items, one 45-rpm record and black-and-white illustrations throughout. 11-1/4 x 8-3/4 inches.[Cited in Andrew Roth, ed., The Book of 101 Books: Seminal Photographic Books of the Twentieth Century. (New York: PPP Editions in association with Roth Horowitz LLC, 2001), and in Martin Parr and Gerry Badger, The Photobook: A History, Volume II. (London and New York: Phaidon, 2006).]. Near Fine. Binding is attached but loose for the first and last signatures; Covers have some surface wear in white areas (very small bump to front lower right corner); missing original printed plastic bag; Castle pop-up is attached, complete and fully-functioning; Red accordion is attached, complete but squeaker is not audible; Bi-plane pop-up is attached, complete and fully-functioning; "The Chelsea Girls" paper wheel mounted on a spring is attached, complete and in fine condition; The 12-sided "sphere" is complete (elastic band on inside broken and separated at one side). The "sphere" is unattached to the black string, which is still attached to book; The Lou Reed Picture Disc Record is attached to the binding, complete within its square (not removed) and in excellent condition; The double image of the rainbow nose with pink overlay is complete, functioning and attached, as are the fold-out pages; The "Hunt's Tomato Paste" can pop-up is complete, functioning and attached; All eight of the rectangular tear-offs, from the "FOR A BIG SURPRISE!!!" page (four on left, four on right) are present including all four printed with "Andy Warhol"; The balloon has deteriorated and is sticking the two pages together (this is common in virtually all copies of this book). From Vince Aletti in The Book of 101 Books: "One of the earliest and most thoroughly documented [books] of the Factory's crews is memorialized in [this book], the artist's first publication to use photography and text after an earlier series of privately printed illustrated books. A disjointed and playful pastiche, Index (Book) has the impromptu feel of a project thrown together as a lark. Most of its pages are filed with high-contrast, snapshot-style black-and-white photographs taken by . Billy Name.As if to puncture this glam bubble, Index (Book) is also filled with an ingratiating array of gimmicks. Among them: a pop-up illustration of a castle under attack (with photos of Warhol & Co. collaged into its windows), a red pleated accordion tucked into a gatefold, another gatefold with Andy's nose in profile sliced into a series of colored flaps, a balloon, a Velvets record, a Chelsea Girls ad on a spring, and a Hunt's tomato past can that pops up between two head shots of International Velvet." Signed by Author.

Blood on the Rice
by Tom Weber (1965
 Carmelo & Bauermann, Philippines, 1965. Softcover. a photojournalistic essay and plea for increased American humanitarian aid and engagement with the Philippines, at the height of the cold war. Scarce. Previous owner's name. 126 photographic pages. 


A California Landscape
by Jeff Lovelace (1965)
Garland Publishing Company, Arroyo Grande, CA, 1965. Original wrappers. 1st. First Edition. INSCRIBED by the author. Oblong 8vo. 64 pp. Black & white photo-reproductions of scenes in and around Santa Maria, California, along with prose text by the author. Introductory poem by John Matlack. Photo-illustrated wrappers in fine condition, with a hint of wear to extremities. An uncommon title, as of 2/16 only 3 copies listed in OCLC. The author's first book, published when he was nineteen years old.(Rocq S2171).


Cowboy Kate & Other Stories
by Sam Haskins (1965)
Crown Publishers, Inc., York, 1962. Paper Wrap.  First Edition. 1962, (Five Girls), first edition, hard -cover. Text: 143 pages with 130 mostly full- or double-sided photographs of Sam Haskins. York: Crown Publishers, Inc. York and Samuel Haskins, 1965, (Cowboy Kate & Other Stories), first edition, hard -cover. Text: un-page number illustrated through-out with full-bleed duotone photos; the pioneering work, blending an extended visual narrative with an artful use of black-and-white tones and subtly erotic, peek-a-boo nudity. Author: "Sam Haskins, born as Samuel Joseph Haskins (born November 11, 1926 in Kroonstad, Orange Free State; he pass away November 26th 2009, in Bowral, Australia). He was a South African photographer particular made his contribution to the nude, his photomontages and his books: Cowboy Kate (1965) and Haskins Posters (1973) are his most important volumes .In the sixties published Haskins four books that established his international reputation and his photographic trademarks Five Girls (1964) explored a fresh. access to the photograph of the naked female body. Haskins experimented for the first time with black and white printing, the cropping images and the book design, with the three characteristics that made all his subsequent books unmistakable. Cowboy Kate (1964) was probably the first black -White illustrated book of the 20th century who explored the black and white photographic grain as a means of artistic expression and for the composition. The book set new standards in-which sold a million copies and won the 1964 French Prix Nadar. Even today feel photographers, filmmakers, fashion designers and makeup artists of Cowboy Kate affected, more than five decades after the release of the band. " (Wikipedia).


Delta West
by Roger Minick (1969)
Berkeley: Scrimshaw Press. First Edition, 1969. A Fine hardcover copy in sturdy dark tan cloth covered boards, illustrated endpapers, in a Fine sepia dustwrapper printed in black. Not price-clipped. One of three thousand copies. Black and white photographic images printed by double offset lithography. Unpaginated. Historical essay by Dave Bohn (himself a photographer of note). Images interspersed with text by commentary by the residents, which creates a poetic narrative record. 


Five Girls
by Sam Haskins (1962
Crown Publishers, Inc., York, 1962. Paper Wrap. First Edition. 1962, (Five Girls), first edition, hard -cover. Text: 143 pages with 130 mostly full- or double-sided photographs of Sam Haskins. York: Crown Publishers, Inc. York and Samuel Haskins, 1965, (Cowboy Kate & Other Stories), first edition, hard -cover. Text: un-page number illustrated through-out with full-bleed duotone photos; the pioneering work, blending an extended visual narrative with an artful use of black-and-white tones and subtly erotic, peek-a-boo nudity. Author: "Sam Haskins, born as Samuel Joseph Haskins (born November 11, 1926 in Kroonstad, Orange Free State; he pass away November 26th 2009, in Bowral, Australia). He was a South African photographer particular made his contribution to the nude, his photomontages and his books: Cowboy Kate (1965) and Haskins Posters (1973) are his most important volumes .In the sixties published Haskins four books that established his international reputation and his photographic trademarks Five Girls (1964) explored a fresh. access to the photograph of the naked female body. Haskins experimented for the first time with black and white printing, the cropping images and the book design, with the three characteristics that made all his subsequent books unmistakable. Cowboy Kate (1964) was probably the first black -White illustrated book of the 20th century who explored the black and white photographic grain as a means of artistic expression and for the composition. The book set new standards in-which sold a million copies and won the 1964 French Prix Nadar. Even today feel photographers, filmmakers, fashion designers and makeup artists of Cowboy Kate affected, more than five decades after the release of the band. " (Wikipedia).


God�s Country and My People
by Wright Morris (1968)
Harper & Row, New York, 1968. First Printing of the First US Edition. Wright Morris (1910-1998) was a renowned writer and affective photographer. Pairing photographs with his own writing, Morris pioneered a new tradition of "photo-texts" in the 1940s that proved highly influential to future photographers. Devoid of figures, his photographs depict everyday objects and atmosphere. Morris’s poetic images exist in a fictional narrative, but reference documentary style. The Museum of Modern Art proved supportive of Morris throughout his career, both exhibiting and purchasing his work. MoMA curator John Szarkowski prompted a reconsideration of Wright Morris with the publication of God’s Country and My People (1968), widely considered Morris’s most successful photo-text book.


Hawaiian Surfriding: The Ancient and Royal Pastime
by Blake Thomas (1961)
Northland Press, 1963. Paperback. First Edition, First Printing. Northland Press., Flagstaff, AZ. 1963. Softcover in pictorial staplebound wrappers. 4vo. First Edition, First Printing. 4to. 40 pages with numerous blackand white photographic images throughout showing the history, equipment and techniques of early surfers with explanatory text. 


House of Bondage
by Ernest Cole (1967
 Random House / Ridge Press, Inc, New York, 1967. Hardcover. 1st Edition. First edition, first printing. Hardcover. Beige cloth-covered boards with title stamped in gold on cover and spine, with photographically illustrated dust jacket. Photographs and text by Ernest Cole, with Thomas Flaherty. Introduction by Joseph Lelyveld. Includes a biography. 192 pp., profusely illustrated with black and white plates. 11-3/4 x 8-5/8 inches. [Cited in Martin Parr and Gerry Badger, The Photobook: A History, Volume II. (London and New York: Phaidon, 2006).] Out of print. Fine in Fine dust jacket. From the publisher: "The House of Bondage is the dwelling-place of the black people of South Africa, whose bitter life is one of the tragedies of our century. Ernest Cole has lived the tragedy as an inmate of the House for most of his twenty-seven years. A remarkably gifted photographer and an eloquent spokesman, he.exiled himself to expose the harsh realities of his homeland. From his unique vantage point, Cole sees every aspect of South Africa's degradation with a searching eye and a passionate heart.". 


Living Egypt
by Paul Strand (1969)
MacGibbon & Kee, London, 1969. Hardcover. 1st Edition. In Living Egypt Paul Strand and James Aldridge have produced a book which is an expression of genuine understanding not only of their subject but of each other. 155 pages, 105 photographs.


Many Are Called
by Walker Evans (1966)
Houghton Mifflin Company & The Riverside Press, Boston & Cambridge, MA, 1966. Boards in Pictorial Jacket. First Edition. Small 4to. xii + 178pp, 89 b&w illustrations. Published in 1966, this hardbound monograph collected in book form for the first time Walker Evans' poignant black and white portraits of New York City subway riders taken during the thirties and forties. An otherwise internally bright, most handsome example of the uncommon Houghton Mifflin Company and Riverside Press first hardcover edition (cited on page 253 of Martin Parr and Gerry Badger's "The Photobook: A History Volume I", pages 218-219 of The Hasselblad Center's "The Open Book", page 31 of "From Fair to Fine: 20th Century Photography Books That Matter", and pages 104-109 of Horacio Fernadez' "New York in Photobooks") showing some minor staining and the name of a previous owner in ink on the front pastedown. Photography Monograph.


Mirrors Messages Manifestations
by Minor White (1969)
Aperture, Inc., New York, N.Y., USA, 1969. Hard Cover. First Edition. NEAR FINE 1st edition Archival dust jacket protector provided. A WONDERFUL ASSOCIATION COPY (presentation from the Minor White to fellow photographer Barbara Morgan) : "For Barbara / with light & love / and essences flying / Minor / 1970" (in black ink on the verso of the front free endpaper). Large square quarto volume (12" by 12"), 242 pages, including an image chronology, a biographer's introduction and chronology by Peter C. Bunnell, and a bibliography, 100s of B&W images


Moments Preserved
by Irving Penn (1960
1960. First Edition. "PENN, Irving. Moments Preserved. New York: Simon and Schuster, (1960). Large quarto, original beige cloth, original dust jacket, original pictorial slipcase. Housed in a custom clamshell box. $6200.First edition of Penn’s first book, an especially scarce presentation/association copy warmly inscribed by him to the noted Swedish art critic and author who would become a longtime correspondent, "For Ulf Hard af Segerstad, With all good wishes, Irving Penn, New York 1962." Accompanying the book is Penn's autograph note, penned and signed by him on a card printed with his New York address: "Oct. 1, 1962. Dr. Mr. Ulf Hard af Segerstad, I have just recently been looking at clippings of various reviews of my late book Moments Preserved [underlining in original]. My wife, who is Swedish, translated your review for me with great care. I don't wish to embarrass you, but I would like you to know that it was the only review written on either side of the Atlantic which understood my aim, and was generous enough to say that it had been in some measure achieved. With many thanks and good wishes, Sincerely yours, Irving Penn."This very scarce presentation/association copy of Moments Preserved, Penn's groundbreaking first publication, is warmly inscribed by him to the noted Scandinavian art critic and author, Dr. Ulf Hard af Segerstad, who became a longtime friend and correspondent with the photographer, and would co-author a volume in tribute to Penn's wife, the renowned Swedish-born model, titled, Photographs: A Donation in Memory of Lisa Fonssagrives-Penn (1996). This memorable copy of Moments Preserved also includes a laid-in autograph note, penned and signed by Penn on the recto and verso of a card printed with his New York address. Dated October 1, 1962, Penn's signed autograph note likely signals the beginning of the friendship between the two men, with Penn clearly indicating his appreciation for Segerstad's review of Moments Preserved and affectionately mentioning his wife, Lise Fonssagrives-Penn, who translated Segerstad's review for Penn. Lise Fonssagrives-Penn, who married the photographer in 1950, remains heralded as "one of the most elegant women ever to wear a dress. She was at the height of her career in 1949 when Time put her on its cover She was also the apple of Irving Penn's eye" (Vogue). To Alexander Liberman of Conde Nast Publications, publisher of Vogue, "the Penns represented 'an extraordinary relationship between a photographer and a model. She was the inspiration and subject of some of Penn's greatest photographs'" (New York Times). This wonderful inscribed first edition highlights not only Penn's appreciation for Segerstad's review, but also signals an important connection between the photographer, his wife, and Segerstad. Penn, one of his era's most accomplished photographers and a major contributor to Vogue, has been lauded for his "imagery of extreme elegance" (Blodgett, 101). "An overview of an astonishingly busy career Moments Preserved gathers Penn's vast variety of enthusiasms Penn reinvented the classic daylight studio portrait for a more casual time, undercutting its formality but heightening its potential as a revealing performance" (Roth, 158). Segerstad's own publications include: Scandinavian Design, Modern Finnish Design, and Modern Scandinavian Furniture. With an introduction by Alexander Liberman. A fine inscribed copy and laid-in signed autograph note.". 


Photographs
by Harry Callahan (1964)
N.p.: N.d. c. 1964, 1964. Partial maquette of Harry Callahan's first book, eventually published by El Mochuelo Gallery, Santa Barbara, 1964. Four unbound signatures totaling 52 pages, with 27 photographic prints taped to the pages or in some cases loose. Copious publication notes in an unknown hand, but likely the publisher David van Riper All images from the fourth and final section of the book, corresponding almost exactly to the published sequence. Plate 91 is a variant image noted "different" in the maquette. Includes plates 89-98, 107, 110-118, 120-126. While the exact photographic process is unknown, the images appear to be copy or work prints on silver paper; many of the photographs are noticeably darker than the reproductions in the book. Acquired by the original owner from publisher David Van Riper when he moved from Chicago to Santa Barbara to start the short-lived El Mochuelo Gallery. The only maquette I have seen of one of the seminal photobooks of the 20th century. 


Shadow of Light
by Bill Brandt (1966)
Viking Press, New York, 1966. Hardcover. Book Condition: vg. 4to. 128pp. Black cloth with gilt letering to spine in original pictorial dj. Magnificant photography book by the acclaimed artist Bill Brandt. Dj in very good, book in fine condition. On the artist: Bill Brandt (1904-1983) was a German-born British photographer. A pupil of Man Ray in Paris, he later returned to London where he worked as a freelance photographer. Other than his portraits of British society, he is especially known for his nude photography and distorted landscape. His photographs are displayed, among other places, at the Albert museum in London, the Bibilotheque Nationale in Paris and the Museum of Modern Art (MoMA) in New York. 


Six Nymphets
by David Larcher & Philip O Stearns (1966)
Kings Road Publishing, 1966. Hardcover. 1st Edition. This is the first British edition, which preceded the first U.S. edition! 12 1/2" x 10". In light grey cloth with gilt titles to front board and spine. 143 pages, unpaginated of mostly photographs with a minimum of text. Black and white photographs to front and back of dust jacket with black titles to front cover and white on black titles to spine. Dust jacket has not been price clipped and bears publisher's original price of 5 Guineas. All in all, a very nice copy of a very provocative book.


Sweet Life
by Ed Van der Elsken (1966)
Harry N. Abrams, New York, 1966. First american edition, first printing. With the original dustjacket! Scarce! Martin Parr, The Photobook, vol 1, page 254/255. Frits Gierstberg, Rik Suermondt, The Dutch Photobook, page 120/121. Published in the same year (1966) and with the same content and layout regarding the book like the two german editions, the first spanish and first dutch edition. Two years later the french and the japanese editons were published (1968). So wordwide there were published in the sixties 7 different editions; with the identical content and layout regarding the book, but with different covers, dustjackets and slipcases. Hardback with dustjacket. 290 x 290 mm (11 1/2 x 11 1/2 in), 208 pages. 153 black&white photographs. Text and design by Ed van der Elsken.


Tir a Mhurain: Outer Hebrides
by Paul Strand (1968)
Grossman Publishers, New York, 1968. Hardcover. First Edition. 151 pages of text. Hardcover binding in almost new condition. Contains 105 black and white photographs. Includes the original Aperture prospectus/order form. This special first American edition is limited to 1500 copies and was printed under Paul Strand's personal supervision. The text is clean and unmarked. First edition. See also 

Paul Strand's Hebrides: subtle, sensitive with a dash of Marxist steel

Twentysix Gasoline Stations
by Edward Ruscha (1962)
National Excelsior Publication, Hollywood, 1962. First edition, first printing one of 400 copies, number 141. Original white wrappers, printed in red. Signed by Ed Ruscha on the title page. In near fine condition with the rare original glassine wrapper. Ed Ruscha’s first book, a seminal "bookwork", one of the most influential conceptual art works, it served as a kind of tonic, liberating the artists’ book from many of its traditional emphases. "The first book came out of a play with words. The title came before I even thought about the pictures. I like the word ‘gasoline’ and I like the specific quality of ‘twenty-six.’ If you look at the book you will see how well the typography works - I worked on all that before I took the photographs. Above all, the photographs I use are not ‘arty’ in any sense of the word. . . . One of the purposes of my book has to do with making a mass-produced object. The final product has a very commercial, professional feel to it . . . . I have eliminated all text from my books — I want absolutely neutral material. My pictures are not that interesting, nor the subject matter . . . my book is more like a collection of ‘ready- 56 item 241 mades’. Edward Ruscha, Artforum interview, 1965; Lippard, Six Years: The dematerialization of the art object from 1966 to 1972, p.11. "The most renowned series of artist’s books in the history of the genre," Parr & Badger, The Photobook: A History, Vol. II; Castleman, A Century of Artists Books, p.167.


US Navy: Vietnam
by Robert D Moeser (1969)
United States Naval Institute, Annapolis, Maryland, USA, 1969. Hb. First. A vivid pictorial record of the U.S. Navy in the Vietnamese conflict. The photographs span the period between August 1964 to December 1967. 248p


Vera: A Study of a Beautiful Girl
by Harrison Marks (undated circa 1960s)
Kamera Publications, 1962. Hardcover. 66 p. Includes illustrations.

Kamera Publications Ltd. was formed in the early 1950s by George Harrison Marks and his wife Pamela Green with the idea of producing a new type of magazine featuring photographs of beautiful women. And so ‘Kamera’, ‘Solo’ and the like were born. The women who appeared in these classic little magazines were all handpicked by George and Pamela and photographed by the master himself. It soon became apparent that this was to change the face of glamour photography. He and Pamela had an amazing capacity for choosing just the right type of women to adorn the pages of their publications and many of these models became legendary in their own right. Pamela Green (yes, she was a model as well!), June Palmer, Paula Page, Lorraine Burnett, Vicky Kennedy, Marie Devereux and Rosa Dolmai to name but a few all became hugely popular. Glamour photography was only one of a number of professions that Harrison Marks dabbled in. He was fascinated by the stage and cinema and hoped to turn his talents in this direction. From a young age he was tutored and inspired by some great people through employment with film studios and theatrical agents, eventually opening his own small studio where actors and would-be models would go to have promotional shots and portfolios done. This, with the help and encouragement from his wife, Pamela, led to the idea of a magazine, the likes of which had never hit the magazine stands of Britain before. With hardly any capital and the promise of backing from a printer by the name of Jim Martin, the husband and wife team published their very first magazine, Kamera, in the early 1950s. Within two days the print run of 15,000 copies sold out, and within the next five weeks no fewer than 150,000 copies had been sold. Other series of photo magazines were to follow, including ‘Femme’, ‘Solo’ and ‘U.S. Glamour’ plus a number of Kamera specials including ‘Kamera Backstage’, ‘Kamera Glamour Guide’, ‘The Fabulous June Palmer’ and ‘Macabre’. They also produced a number of hardbacks including ‘Vera’, featuring the beautiful Vera Day, and ‘Kamera On Location’ both of which are very scarce now. Harrison Marks also proved to be a very talented film director and put together the film version of ‘Naked - As Nature Intended’ which was a huge succes and ran and ran for ages in the West End of London. Other films were to follow including the Mary Millington smash hit ‘Come Play With Me’ which he directed. Today the work of George Harrison Marks, Pamela Green and photographers such as Roye, Arthur Howell and Russell Gay are becoming more and more sought after.


Young London Permissive Paradise
by Frank Habicht (1969)
London: Harrap., 1969. FIRST EDITION SIGNED and inscribed by the author. Small folio, pp.99. Original blue cloth boards, titled in silver in glossy pictorial dust-jacket. This variant of the binding has the publisher's imprint to spine and a sewn headband. Usual laminate shrinkage, one or two marks, minor production crease to rear of jacket. A near fine copy of this counter-culture classic, boldly inscribed in black and silver inks to the copyright page. Young German photographer Frank Harbicht's shots effectively capturing the swinging era in London's Carnaby Street, King's Road, Kensington Church Street, and Portobello Road, with 'views on the scene' by Heather Cremonesi and Robert Bruce. The photos show mainly everyday youth and anonymous models, but some of the more famous subjects within include Mick Jagger and Keith Richards, Donovan, Lulu and a very early 'Birds' era Ronnie Wood. Born in Hamburg in 1938, Habicht began his career as a photographer in 1960 attending the Hamburg School of Photography, from which he graduated in 1962. As a freelance photographer he was published in magazines including Esquire, Sunday Times and The Guardian. Habicht gained employment working as a stills photographer for film directors, Bryan Forbes, Roman Polanski and Jules Dassin (1965-68), as in-house photographer for the Playboy Club in London (1970) and as a freelance photographer for 'Top of the Pops' (1969). These encounters certainly provided Habicht direct access to international pop idols and film stars who became subjects of his most celebrated photographs and included Mick Jagger and the Rolling Stones, actor/director duo Jane Birkin and Serge Gainsbourg, actors Vanessa Redgrave, Marty Feldman and Christopher Lee, director Roman Polanski and photographer Lord Lichfield. See also 

Young London, Permissive Paradise Avenue Magazine Ed van der Elsken Frank Habicht Photohjournalism Photography



Young Samurai: Bodybuilders of Japan
by Tamotsu Yato (1967)
1967. New York: Grove Press. First American edition. small quarto. Japanese lettered (with the original Japanese title "Taido") black and brown cloth. Edges have a trace of tanning else fine in dustjacket with a bit of wear to the extremities and a trace of tanning to the flap edges else near fine. A beautiful copy of this extraordinary collection of beautifully gravure reproduced photographs of Japanese bodybuilders by photographer Tamotsu Yato accompanied with an introduction by Yukio Mishima. Additionally, Hitoshi Tamari, General Manager of the Japan Bodybuilding Association, has written an informative backgound essay "which briefly traces the long and contradictory history of Japanese attitudes toward the human body and also the history of bodybuilding in Japan". Published in Japan under the title "Taido (The Way of the Body). The texts have been translated from the original Japanese, with slight adaptations to make them clear to the Western reader, by M. Weatherby and Paul T. Konya. A great book.


Zero Mostel Reads A Book
by Robert Frank (1963)
Book Condition: Gut. New York Times, New York. 1963. Original first edition, first printing. Not the Steidl reprint from 2008. Hardcover. 150 x 220 mm (7 3/4 x 9 3/4 inch). 36 photos. Condition: Outside like so often browned, inside excellent. Glassine jacket missing. Overall very fine copy! Scarce! Published for the fun if it by The New York Times and dedicated to the American bookseller, June, 1963. Photos: Robert Frank. By the maker of 3 of the most important photobooks ever published: Les americains/The americans (Martin Parr, The Photobook , page 247), Flower Is (Martin Parr, The Photobook, page 264) and The Lines of my hand (Martin Parr, The Photobook, page 261). "When Robert Frank had completed his first two films, he accepted a commission for a photo-book from the New York Times, which became Zero Mostel Reads a Book. In it Frank takes the comic actor Zero Mostel (1915–1977) for his subject, and depicts him in cartoonish dimensions–bemused, baffled and apoplectic, as he makes his way through an unidentified hardback volume, seated at a table or on a sofa in a large lounge area. Originally published "for the fun of it" in 1963 and dedicated to the American bookseller, the book was intended as a present for customers yet it never reached the book market. It has been a collector’s item since. Zero Mostel Reads a Book references a series of theatrical and playful vignettes in which Mostel’s most famous roles–Tevye in Fiddler on the Roof, Pseudolus in A Funny Thing Happened on the Way to the Forum, and Max Bialystock in The Producers–are clearly signaled. It is a delightful moment of slapstick in Frank’s oeuvre, and directly reflects his emphasis on the moving image at the time." (Steidl) Robert Frank was born in Zurich, Switzerland in 1924 and went to the United States in 1947. He is best known for his seminal book The Americans, first published in 1959, which gave rise to a distinct new art form in the photo-book, and his experimental film Pull My Daisy, made in 1959. His other important projects include the book Black White and Things (1954) the book Lines of My Hand (1972) and the film Cocksucker Blues (1972). Frank’s work has been the subject of major exhibitions around the world and is included in many significant public and private collections. He divides his time between New York City and Nova Scotia, Canada