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
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.
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.
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.
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).
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).
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.
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).
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.
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.
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.".
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.
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.
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
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.".
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.
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.
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.
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.
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
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.
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
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.
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
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.
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
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