vrijdag 18 januari 2019

Passion for (photo) Books - (photo) Books for your Passion Photography


Passion for books. Books for your passion.™ – Photography
by Scott Brown, Editor, Fine Books & Collections magazine.

See our video review of At Work by Annie Leibovitz. › Play Video


The Photobook: A History Vol I by Martin Parr and Gerry Badger


In order to build an organized photobook collection, something my wife and I enjoy doing, begin with Andrew Roth’s Book of 101 Books, published in 2001. Roth, a rare book dealer and photography collector, assembled the most influential and collectible photobooks of the 20th century and presented them in this single volume. For many, it changed the way people look at photographic books and essentially created the idea of a photobook canon – a notion that was further solidified by The Photobook: A History, a two-volume set by Martin Parr and Gerry Badger and the extensive catalog of a touring exhibit, The Open Book: A history of the Photographic Book from 1878 to the Present. Both books were published in 2004.


Technically, the first photobook was published within five years of the invention of the Daguerrotype. William Henry Fox Talbot created a method to develop and mass produce paper photographs, and he used them in his 1844 landmark book The Pencil of Nature. Its very title explains his use of photography to replace drawing. Then, it wasn’t considered an expressive medium of its own.

Photography began to take form as an artistic expression in the 1920s and 1930s with avant-garde artists, such as Man Ray, publishing collections of their photographic work in book form. Most dealers and collectors, however, point to Robert Frank’s The Americans as the first modern photobook. Frank, a native of Switzerland, came to the U.S. on a Guggenheim Fellowship in 1955 and spent nine months driving and photographing the country from New York to California. In just over 80 photographs, Frank captured the soul of the country, but he couldn’t find an American publisher for his work. A French publisher released Frank’s photobook in France under the title Les Americains. In 1959, a year after the French published his work, Grove Press published an American version, without the French text and with an introduction by Jack Kerouac.


Frank and his contemporaries – William Klein, Harry Callahan and Aaron Siskind – dominated American photography in the 1960s with innovate techniques and edgy style, reshaping conventional ideas about what photography should look like. Other photographers like Helen Levitt, Garry Winogrand and Bruce Davidson took the traditional photo essay in new directions pointing the lens in new neighborhoods at new faces with new perspectives.


“The 1970s were a very interesting period,” says Andrew Cahan, a bookseller and photographer in Chapel Hill, North Carolina. “Photography became legitimate in the galleries and auction houses. Many photographers could actually make a living just selling their work.” Photographers became more playful, as in Lee Friedlander’s Self-Portrait and stranger, like Diane Arbus’ posthumous eponymous monograph.


The 1970s also saw the rise of the New Topographics, photographers who eschewed the romantic landscapes of Ansel Adams for the urban, industrial landscapes of the time.

Confronted with canons and a half-century of choices, where should the aspiring collector start? Identify a photographic style, school or key photographer who arouses your passion. Experimental or traditional? Photojournalism or fashion? Portraits or landscapes? When you identify your passion, find a bookseller or photography gallery that shares your enthusiasm.

Half the fun of collecting photobooks is finding underappreciated and emerging photographers. American women photographers, like Olivia Parker who brings an unconventional approach to still life, are due for a critical and popular rediscovery.

Also, watch for limited editions of photobooks, which often include signed prints. And visit galleries and museums. Try to keep up with everything, and buy books when they’re first published. Later on, those same books will cost you much more from a dealer or collector.

See also The Photo Book as Art Object
For Dayanita Singh, photography is inseparable from its presentation, and she has spent years experimenting with unusual photo book formats to display her work.


Ten Great Photography Books:


Pencil of Nature by Henry Fox Talbot: 1969 Facsimilie Edition

The first photobook
Henry Fox Talbot may be the father of photobooks. He created a method to develop and mass produce paper photographs, which he used in his book Pencil of Nature. The original 1844 edition is rare, but this first 1969 facsimile edition costs $500.



They Called It "Purple Heart Valley" by Margaret Bourke-White
Documenting war
By the 1940s, photographers were chronicling World War II, including photojournalist Margaret Bourke-White, the first female war correspondent and the first woman to work in a combat zone. Her photos of the war in Italy are included in this first edition for $758.


Fourteen American Monuments by Lee Friedlander
American Monuments
During the 1960s and 1970s, photographers like Lee Friedlander were making a living at photography. This rare two-volume set, published in 1976, features 14 American monuments and is a numbered, limited edition with 10 original gelatin silver prints. Each photograph is hand-numbered and signed by Friedlander. The set is offered for $85,000.


The Animals by Garry Winogrand
Street photography
Garry Winogrand was known as a street photographer who portrayed life in 1960s America. Like Levitt, he focused his camera on the social issues of the day. This book of animals and zoo visitors, characteristic of his loose style, is a rare first edition still in the publisher’s plastic wrap. It’s available for $550.



Les Americains by Robert Frank
Les Americains
The first modern photo book arrived in Robert Frank’s seminal book, The Americans. Frank couldn’t find a publisher in America, so it appeared first in France under this title. This first edition in good condition is available for $3616.



Man Ray Photographs Paris
Man Ray photos
In the 1920s and 1930s, American expatriates like Man Ray helped solidify photography as an art form. Ray’s collection of Paris photographs from the 1920s and 1930s is offered as a first edition, available for $6,750.


Lewis Baltz: Rule Without Exception
Baltz and the New Topographics
The New Topographic photographers of the 1970s, like Lewis Baltz, revolted against romantic landscapes by photographing the urban, industrial landscapes of the times. This signed, first edition of an exhibition monograph is rare, and a good value for $440.


A Way of Seeing by Helen Levitt
Levitt's view of New York
Helen Levitt’s fascination with chalk drawings done by New York City children launched her career and a new direction in social photography. This first edition of her first major book, published in 1965, is signed by Levitt and sells for $5,900.


Diane Arbus Magazine Work
Magazine photography
During the 1960s, Diana Arbus worked as a fashion photographer and controversial photojournalist whose work included Child with Toy Hand Grenade in Central Park. This first edition exhibition catalogue offers sample of her magazine work for $28.


The Book of 101 Books by Andrew Roth
Photobook bibliography
Since 2001, several resources have been published that not only legitimize the photobook but describe the best photobooks to own. This one highlights what many consider to be the most influential and collectible photobooks of the 20th century. This first edition is $750.

woensdag 16 januari 2019

Électricité La Compagnie Parisienne de Distribution d'Électricité (CPDE) Man Ray Company Photography


Andere auteursIrma Boom (Ontwerper)
Rijksmuseum

See also 
Rijksmuseum toont nieuwe topstukken 20ste-eeuwse fotografie ...
Een van de nieuwe fotogafische aanwinsten die het Rijksmuseum sinds vandaag tentoonstelt, is een zeer recente aanschaf, mede mogelijk gemaakt door een permanente sponsoring door advocatenkantoor Baker & McKenzie. Conservator Hans Rooseboom rondde de aankoop af tijdens de beurs Paris Photo van afgelopen maand. Twee handelaren stuurden ieder vooraf al een exemplaar van het portfolio Electricité van Man Ray naar Amsterdam  zodat het Rijksmuseum kon kiezen naar welk exemplaar de voorkeur uitging, maar de koop werd in Parijs officieel bekrachtigd tijdens een van de vele afspraken die rond Paris Photo worden gemaakt.


Man Ray (1890-1976) maakte in 1931 in opdracht van de Compagnie Parisienne de Distribution d’Electricité een tiental fotogravures, door hemrayograms genoemd, die elektriciteit tonen in het dagelijks gebruik. Maar uiteraard wel op zijn Man Ray’s: met een knipoog. Van het portfolio is indertijd een oplage van 500 gedrukt.

Een blik op veilingresultaten bij Christie’s doet vermoeden dat het om een aanschaf gaat van misschien wel een miljoen euro, maar Rooseboom laat weten dat we bij de aanschaf van dit portfolio aan een andere categorie moeten denken: ‘Oorspronkelijke rayogrammen van het soort dat ook in Electricté zijn verschenen doen inderdaad prijzen die een set van 10 zouden doen uitkomen op een miljoen. Er zijn de afgelopen acht jaar ook verschillende sets van Electricité zelf aangeboden op veilingen. Het exemplaar dat we kochten van een Franse particulier is in prachtige staat - mint - en is aan ons verkocht voor een alleszins redelijke prijs, namelijk 34 duizend euro.’



Électricité
by Man Ray
1931
Gift of Joyce F. Menschel, 2013
2013.1098.13 (1–10)

This remarkably seductive album of photogravures is an exquisite example of his legacy as America's greatest Surrealist photographer...

Of all the American artists living in Paris in the 1920s and '30s, Man Ray was the most technically innovative and artistically productive. This remarkably seductive album of photogravures is an exquisite example of his legacy as America's greatest Surrealist photographer.

A playful alchemist in multiple mediums, Man Ray arrived in France in 1921 (from Williamsburg, Brooklyn) and soon established an influential portrait studio in the incendiary center of an avant-garde community of painters, photographers, filmmakers, and poets. By 1922, he was making cameraless pictures of everyday objects on photographic paper (photograms) that he dubbed "rayographs." The poet Tristan Tzara proclaimed them "dada" and wrote that the photographer "had invented the force of tender and fresh lightning."

Électricité is among the most acclaimed works by Man Ray—a dynamic assemblage of ten rayographs that the artist made as a commission for a private power company that desired to promote the domestic consumption of electricity. At the time, most homes in France relied on natural gas, wood, or coal for lighting, cooking, and heating. Man Ray used electrical appliances (light bulbs, a toaster, an iron, a fan) and electric light to cast the objects' shadows on photographic paper. Then he added wavy trails of power cords and heating coils—symbolic traces of the unseen effect of electric current. He also included in five images his own photographs (female nudes) and other pictures he may have appropriated (a roasted chicken, nighttime signage, the moon). In Électricité, Man Ray demonstrated how electricity (essentially an invisible force) could be a subject and also a modern medium and how it might effectively make a tasty dinner meal, cool the kitchen, eroticize the body, and thus contribute to the quality of life for working-class Parisians.

Although La Compagnie Parisienne de Distribution d'Électricité (CPDE) produced an edition of 500 copies for distribution to their executives and top customers, this particular example is special. It is not numbered in the edition but is the artist's own copy ("copie d'Artiste"). It is presented in an elegant binding of woven plant fibers and stamped leather, with intensely patterned red endpapers. And it is inscribed endearingly by Man Ray as a gift in 1932 to his friend the poet Robert Desnos, the author of the screenplay for L'Étoile de Mer, the experimental silent film masterpiece featuring Kiki of Montparnasse that Man Ray directed in 1928. Tragically, Desnos would die of typhoid in Terezín, the Nazi concentration camp in Czechoslovakia, shortly after its liberation by the Soviet Army in May 1945.

Jeff L. Rosenheim
Curator in Charge
Department of Photographs


Électricité.
by RAY, Man
Paris: La Compagnie Parisienne de Distribution d'Électricité,, 1931. Folio. 10 rayographs with paper mounts, with protective paper and cardboard folding case. Housed in the original patterned paper covered chemise and slipcase. 10 photogravures after rayographs. Sheet sizes: 37.5 x 27.6 cm. Very mild foxing. An excellent set. First edition, number 265 of an edition of 500, each rayograph signed in negative by the artist. The technique of creating photographic prints without using a camera (photograms) was not new, but Man Ray personalized the technique to such an extent that his pieces became known as rayographs. The poet Tristan Tzara proclaimed them "dada" and wrote that the photographer "had invented the force of tender and fresh lightning." Électricité is among the most acclaimed works made by this method. Man Ray produced the book as a commission for La Compagnie Parisienne de Distribution d'Électricité (CPDE), a private power company wishing to promote domestic consumption of electricity, at a time when most French homes used natural gas, wood, or coal for fuel. Man Ray used electric light to cast the images of various electrical appliances onto photographic paper. He added shadows of power cords and heating coils and incorporated a number of his own photographic nudes and other found images. The edition of 500 copies was published for distribution to executives and top customers of CPDE. This copy has the company's compliments slip loosely inserted.



























zondag 13 januari 2019

Drukkersweekblad / Autolijn Grafisch Nederland 1963 Foto Grafie Graphic Design Photography


DRUKKERSWEEKBLAD/AUTOLIJN - GRAFISCH NEDERLAND. Kerstnummer 1963. FOTO GRAFIE. Henri Cartier-Bresson - Een schrijvend fotograaf/Willem Frederik Hermans - Een fotograverend schrijver; Nederlandse fotografen en hun buitenlandse collega's [Werner Bischof, Carel Blazer, David Douglas Duncan, Ed van der Elsken, Aart Klein, Kurt Wirth, Eddy Posthuma de Boer, P.H. Goede, Sanne Sannes, Hans Pelgrom, Ad Windig, Jan Versnel, Dolf Kruger, Robert Capa, Paul Huf, Irving Penn, Ata Kando, Aart Klein, Paul van den Bos, Wim van der Linden, Koen Wessing, William Klein] en Typografie/Fotografie door Benno Wissing.



De traditie van het Kerstnummer begint in 1913 met de uitgave van No. 13 van de 4de Jaargang van Het Tarief, Officieel Orgaan van den Nederlandsche Bond van Boekdrukkerijen. De volgende en voorlopig laatste Kerstuitgave verschijnt in 1914. Door materiaalschaarste (de Eerste Wereldoorlog) duurt het zeven jaar, tot 1921, voor de Federatie der Werkgeversorganisatiën in het Boekdrukkersbedrijf het aandurft een volgend Kerstnummer uit te geven. Vervolgens wordt de traditie nog doorbroken door de Duitse bezetting en door een aanstootgevend plaatje in 1970. Helemaal zonder behoeft men het in 1970 echter niet te doen. De redactie van Proost Prikkels biedt een alternatief: Kerstnummer voor de drukkerswereld 1970 - Maak het zelf.

De inhoud van het Kerstnummer bestaat vele jaren uit het Kerstverhaal, aangevuld met grafisch-technische verhandelingen, beschouwingen over drukwerk, vormgeving e.d. Pas in 1964 verschijnt een Kerstnummer Drukkersweekblad & Autolijn over ‘water’ en ontstaat een serie uitgaven over zeer diverse onderwerpen, die ook veel belangstelling krijgt van buiten de branche.