Photography Books

A first edition, signed copy of Harry Callahan's Water's Edge.<ul><li>Harry Callahan (American).</li><li>With an introductory poem by A.R. Ammons.</li><li>Connecticut: Callaway Editions distributed by the Viking Press, 1980.</li><li>76 pages.</li><li>Folio.</li><li>With black-and-white photographs printed in duotone offset.</li><li>Includes original gelatin silver photograph (5 x 5 inches) mounted on rag paper, signed and numbered in pencil.</li><li>Number 30 of 50 signed copies in set II (of IV), each with a different gelatin silver photograph in an edition of 50 (200 copies in total with an additional 16 hors commerce).</li><li>With an afterword by Harry Callahan.</li><li>Bound in natural linen-covered boards, with cream endpapers, print laid in to the publisher's grey paper portfolio with title to front in blind, housed together in the publisher's quarter vellum over linen drop spine box with titles stamped in blind on spine.</li></ul> Callahan informally began his series of beach photographs in 1938 at Lake Hutton, where his wife's family had a cottage. But it wasn't until 1946, when he started teaching at the Chicago Institute of Design (The New Bauhaus), that he felt he had taken his first good pictures of the subject, taking photographs on the shore of Lake Michigan, just three blocks from his house. The series took shape when Callahan moved to New England to teach at Rhode Island School of Design, Providence, in 1961. In his afterword, he writes: "I think that nearly every artist continually wants to reach the edge of nothingness—the point where you can't go any farther. I feel I have come close to that at various times with the Beach Series photographs. A determined single-mindedness and an insistent inner need has led me to that point. That is why I have always kept going back, and that is what still keeps me going today—keeps me alive?"

Water's Edge First Edition with Signed Photograph

A first edition copy of Riefenstahl's photographic chronicle of the 1936 Olympics in Berlin.<ul><li>Leni Riefenstahl (German).</li><li>Berlin:&nbsp;Deutschen Verlag,&nbsp;[1937].</li><li>With Gravure plates.</li><li>Includes a photograph of Jessie Owens taking off for his world-record jump (page 100).</li><li>At the end is a section on the photographer and her team at work.&nbsp;</li><li>Text in German, French, English, Italian and Spanish.</li><li>Issued in conjunction with Riefenstahl's film, Olympia.</li><li>Bound in orange cloth gilt, in photographically illustrated dust jacket.</li></ul>

Schönheit Im Olympischen Kampf

A first edition, signed presentation copy of Sentimental Journey by Japanese photographer Nobuyoshi Araki.<ul><li>Nobuyoshi Araki (Japanese).</li><li>Tokyo: Privately published, 1971.</li><li>108 pages.</li><li>Quarto.</li><li>Includes black-and-white photographs printed in offset.</li><li>Inscribed to Asahi Sonorama Chief Editor Tatsuo Shira with a drawing of a three-trunked elephant, which was Araki's preferred method of embellishment in the 1970s.</li><li>Wire-stitched with white photo-illustrated card wrappers, printed in black, with the printed leaf of green paper added by Araki shortly after publication at a bookshop's request.</li></ul> Sentimental Journey is Araki's signature work, comprising photographs made while on honeymoon with his wife Yoko in Yanagawa on Japan's Kyushu island. Araki's exposure of this most intimate of occasions attracted much criticism in a country which still valued a strict code of behavior, but ultimately, by putting his private life forward for public scrutiny, he paved the way for successive generations of Japanese photographers to work in a similar vein. Initially, Araki had intended for Sentimental Journey to contain no text. However, after publication and at the request of the bookshop Kinokuniya, he wrote a short introduction that rejects the falseness and insincerity of much photography and compares his work to the popular post-war literary form of the "I" novel. This text was printed on a green leaf of paper and laid into the book.

Senchimentaru Na Tabi / Sentimental Journey

A first edition copy of Walker Evans' American Photographs.<ul><li>Walker Evans (American).</li><li>With an essay by Lincoln Kirstein.</li><li>New York, The Museum of Modern Art, 1938.</li><li>198 pages.</li><li>Quarto.</li><li>With black-and-white photographs printed in relief halftone by The Spiral Press, New York, from plates made by Beck Engraving Company.</li><li>Bound in black cloth-covered boards, with cream endpapers, border in blind, printed title-label mounted on spine, in printed dust jacket, grey with text in black.</li></ul> In 1938, the Museum of Modern Art staged an exhibition of Evans' photographs, the first exhibition at the museum to be devoted to the work of a single photographer. Evans worked closely with Lincoln Kirstein on the edit and sequence of the photographs, both for the exhibition and in the accompanying book American Photographs, for which Kirstein also provided the essay. Kirstein writes, "In Evans's pictures of temples or shelters the presence or absence of the people who created them is the most important thing… The structures are social rather than artistic monuments. The photographs are social documents!" Evans and Kirstein divided the book into two thoughtfully sequenced sections. The first shows American citizens, or their representations, alone, in groups, and often within the context of their built environments. The second shows these environments and comprises the "streets and storefronts, homes and graveyards, industrial plants and roadside stands [that] are frozen in time, many of them in a permanent state of decay."

American Photographs

This first edition copy of Flower Is contains three bodies of work: photographs taken in Paris of flowers, flower sellers and chance encounters on the street, the River Rouge car factory in Detroit, and Polaroids made in Mabou Mines, Nova Scotia.&nbsp;<ul><li>Robert Frank (Swiss-American).</li><li>Design by Sugiura Kohei and Sato Atsushi.</li><li>Tokyo: Yugensha / Kazuhiko Motomura, 1987.</li><li>112 pages.</li><li>Folio.</li><li>Includes black-and-white photographs printed in offset.</li><li>Bound in grey silk-covered boards, titles stamped in dark grey on spine and upper side, publisher's grey paper-covered board slipcase with titles stamped in dark grey on spine.</li><li>Accompanied by original shipping carton.</li></ul> Flower Is is the second of three books Frank made with Motomura Kazuhiko, a collector of photographs and photography books and occasional publisher, each designed by Sugiura Kohei. "By 1949 I had lived in New York City for two years. When I returned to Paris, I was 26. The beauty of that city touched me... Returning to America I began to look at Americans... and began to photograph the city and factory which produced the American car. The summer of 1955 was hot and after two days at the River Rouge Plant in Detroit I was told to leave the factory. I travelled south and was astonished to see black people treated as inferiors. I experienced the suspicion against anything not 'American'. I was learning about American determination to win... Flowers of Paris is memory... After the publication of The Americans in 1959, a slow fade begins. Filmmaking replaces the single frame photograph!"

Flower Is

A first edition, presentation copy of Cor Jaring's book of photographs showing the various subcultures, protests and happenings in Amsterdam during the 1960s, which has been inscribed to James Baldwin.<ul><li>Kor Jaring (Dutch).</li><li>Huizen: nvTritonpers, 1969.</li><li>126 pages.</li><li>Quarto.</li><li>Inscribed: "For James Baldwin, with great respect / Cor, Paris 1969."</li><li>Includes black-and-white photographs printed in offset.</li><li>Text in Dutch, German, French and English.</li><li>Bound in photo-illustrated paper-covered boards, with publisher's printed orange wraparound band.</li></ul> In 1948, James Baldwin, aged 24, left New York and moved to Paris. In the spring of 1984, during an interview for The Paris Review, Baldwin was asked why he had chosen to live in France, to which he replied: "It wasn't so much a matter of choosing France—it was a matter of getting out of America." Disillusioned with the prejudices he faced, Baldwin feared that he would not have survived should he have stayed and certainly could not sufficiently isolate himself to focus on writing. In New York, the eldest of nine children, he worked several jobs to provide for his family. Baldwin spent nine years living in Paris, returning to the United States in 1957 as the civil rights movement gained momentum. He returned to France in 1970, first to Paris, then settling in Saint-Paul-de-Vence.

Amsterdam First Edition Presentation Copy Inscribed to James Baldwin

A first edition catalog of an important exhibition by a group of student artists at Goldsmiths College, later identified as the Young British Artists, organized and curated by provocateur Damien Hirst.<ul><li>Damien Hirst (English).</li><li>Ian Jeffrey (English).</li><li>Photography by Edward Woodman, with the exception of Sovereign and Untitled.</li><li>London:&nbsp;The Artists and Ian Jeffrey, 1988.</li><li>Unpaginated.</li><li>Illustrated with color and black and white plates.</li><li>Features artists Steven Adamson, Angela Bulloch, Mat Collishaw, Ian Davenport, Angus Fairhurst, Anya Gallaccio, Gary Hume, Michael Landy, Abigail Lane, Sarah Lucas, Lala Meredith-Vula, Stephen Park, Richard Patterson, Simon Patterson and Fiona Rae.</li><li>Presented in original printed bronze wrappers.</li></ul> In his essay "Platonic Tropics," Ian Jeffrey (then head of art history at Goldsmiths) circles and spins around the idea of a generational "collective imagination," what had become of it, and what it had come to in 1988: "Perhaps '88 works and makes in terms of difference, that it begins from an idea of polarity and of the complementary, and works towards totalization." Perhaps. Coherent or not, Freeze was important for what it was, what it did and what it represented. It was a DIY show organized outside the gallery system in a disused Port Authority building by largely middle-class art students with impressive corporate sponsorship—the retroactively mythic origin point of a movement and a highly successful machine for turning seeming outsiders into art world insiders.

Freeze

Sensual, artistic and cerebral, this volume pairs Norman Mailer's classic book&nbsp;Marilyn&nbsp;with Bert Stern's&nbsp;provocative “last sitting” portfolio&nbsp;to trace the complexity and the allure of an incomparable screen siren.&nbsp;<ul><li>Norman Mailer (American, 1923-2007).</li><li>TASCHEN, 2011.</li><li>Combines the author’s masterful text with Stern’s penetrating images of the 36-year-old Marilyn.&nbsp;</li><li>Numbered and signed by Stern.</li><li>Edition of 1,712 (No. 251–1,962).</li><li>Hardcover in clamshell box, 278 pages.</li></ul>

Marilyn Monroe

A signed copy of The Garden: A Portfolio of 6 Photographs.<ul><li>Paul Strand (American).</li><li>New York: Strand/Hoffman, 1976.</li><li>Folio.</li><li>Limited to 50 copies, this being number 13, signed in the shaky hand of the photographer.</li><li>Laid in loose, in green cloth dropbox.</li></ul>

The Garden

A first edition, presentation copy of Moholy-Nagy's photographs.<ul><li>Laszlo Moholy-Nagy (Hungarian).</li><li>Design by Jan Tschichold.</li><li>Berlin: Klinkhardt &amp; Biermann, 1930.</li><li>Octavo.</li><li>Inscribed: "für herr sandels mit / besten gruss[?] / Moholy-Nagy / 25/XI/37."</li><li>Includes black-and-white photographs printed in relief halftone by F. Bruckmann AG, Munich.</li><li>Text in German, English and French.</li><li>Bound in photo-illustrated wrappers printed in yellow and black.</li></ul> Moholy-Nagy was appointed director of The New Bauhaus: American School of Design in Chicago, with classes beginning in October 1937, on the recommendation of Walter Gropius, who had just accepted a position at Harvard. Moholy-Nagy had spent the previous two years in London and the year before that in Amsterdam after leaving Berlin in 1933.

60 Photos

First editions of Burns' Sleeping Beauty and Sleeping Beauty II.<ul><li>Stanley B. Burns (American).</li><li>Elizabeth Burns (American).</li><li>Sleeping Beauty: Memorial Photography in America and Sleeping Beauty II: Grief, Bereavement and the Family in Memorial Photography. American &amp; European Traditions.</li><li>Altadena, California: Twelvetree Press, 1990.</li><li>New York: Burns Archive Press,&nbsp;2002.</li><li>Folio.</li><li>Illustrated with 76 and 134 plates after photographs.</li><li>Signed in the second volume by Stanley and Elizabeth Burns.</li><li>Bound in publishers’ blue and black cloths in black dust jackets printed in silver.</li></ul>

Sleeping Beauty: Memorial Photography in America

The deluxe Taschen publication Polaroid Diaries brings together highlights of Linda McCartney’s vast archive of candid instant pictures from the early seventies to the mid-nineties. <ul><li>Linda McCartney (American).</li><li>Los Angeles: Taschen America LLC, 2019.</li><li>The collection includes portraits, landscapes and interior compositions which affirm her bold eye for pattern, color and her elegant use of light. </li><li>This is No 365 of 500 limited edition collector’s copies, each hand signed by Paul McCartney.</li><li>The book is accompanied by a clear recycled glass acrylic slipcase.</li><li>This book comes in the original shipping box.</li></ul>

The Polaroid Diaries

A first edition copy of Robert Frank's The Lines of My Hand.<ul><li>Robert Frank (Swiss-American).</li><li>Design by Sugiura Kohei and Tsuji Syuhei.</li><li>Tokyo: Yugensha / Kazuhiko Motomura, 1972.</li><li>119 pages.</li><li>Folio.</li><li>With black-and-white photographs printed in offset.</li><li>Bound in black rough cloth-covered boards, titles stamped in white to spine and upper side, 32-page text booklet laid in as issued, publisher's black cloth-covered board slipcase, titles to spine in white, photographic reproduction mounted on upper side.</li><li>Accompanied by original shipping carton with title stenciled to spine.</li></ul> This is Robert Frank's photographic autobiography, dedicated to his two children, Pablo and Andrea, "who are trying to find a better way to live." The photographs represent every stage of his work to the time of publishing, presented chronologically and selected less for their historic or aesthetic significance than their personal meaning. The Lines of My Hand is the first of three books Frank made with Motomura Kazuhiko, a collector of photographs and photography books and occasional publisher, each designed by Sugiura Kohei who was responsible for several of the most striking Japanese photobooks of the 1960s and '70s. It was issued in two variants, each with a black-and-white photographic reproduction on the slipcase, the present copy with "Platte River, Tennessee." On page 75, a photograph of a postcard sent to Frank by Jack Kerouac references this photograph as used on the cover. Kerouac writes: "Dear Robert — That photo you sent me of a guy looking over his cow on the Platte River is to me a photo of a man recognizing his own mind's essence, no matter what — Jean ton copain." Specks of dust falling on the plates during printing led to occasional tiny white marks on some pages. The publisher, Motomura Kazuhiko, would only sell copies once he had examined them and spotted out any marks by hand. After Motomura passed away in 2014, a number of unsold copies with white spots on the pages were made available for sale. The copy offered here was purchased before Motomura passed away and had, therefore, been spotted and approved by him.

The Lines of My Hand

A first edition copy of Walker Evans' Message From the Interior.<ul><li>Walker Evans (American).</li><li>Afterword by John Szarkowski.</li><li>New York: The Eakins Press, 1966.</li><li>32 pages.</li><li>Square folio.</li><li>Includes black-and-white photographs printed in gravure by Photogravure and Color Company, Moonachie, New Jersey with glassine leaves.</li><li>With&nbsp;tan end leaves, grey mottled cloth-covered boards, printed title label mounted on front, titles stamped in white on spine.</li></ul> These twelve photographs of domestic interiors are richly suggestive of the lives of those who live or lived in them. In the afterword, John Szarkowski describes Evans' style as seeming "as inevitable and as anonymous as that of the early daguerreotypists, yet the character of his imagery—frontal, concisely plain, remotely passionate—is unchallengeably his own. This poised containment of form matches the content of the work, for these are pictures impelled by a concern too serious, and a love too intense, to permit the overt intrusion of sentiment."

Message From the Interior

A signed, first edition copy of Imogen!, with a signed original photograph "False Hellebore, 1926."<ul><li>Imogen Cunningham (American).</li><li>Seattle and London: University of Washington Press for the Henry Art Gallery, 1974.</li><li>110 pages.</li><li>With black-and-white photographs printed in offset.</li><li>Number 78 of 150 signed copies with a gelatin silver photograph.</li><li>Bound in original quarter black morocco over black cloth-covered boards, titles stamped to spine in silver, publisher's black cloth-covered board slipcase.</li></ul> Imogen Cunningham's first monograph, a comprehensive, chronological survey of her diverse career, was published to mark her ninety-first birthday and coincide with two exhibitions: Imogen! Imogen Cunningham Photographs 1910-1973 and Images of Imogen, 1903-1973, both at the Henry Art Gallery, University of Washington, Seattle. Imogen Cunningham's career in photography spanned 70 years. In 1910, she established a studio in Seattle before moving to San Francisco in 1917, where she met a circle of like-minded photographers and became a founding member of Group f/64, an informal group including Ansel Adams, Sonya Noskowiak and Edward Weston, who challenged the prevalent pictorialist aesthetic. Close to half of the members were women, making Group f/64 one of the first modern art movements equally run by women. "That it took almost seventy years for a monograph to be published on Cunningham's ground-breaking career is reflective of the uphill battle that began to be undertaken in the 1970s, when several early-20th-century female photographers finally began to be more permanently written into photographic history." (What They Saw: Historical Photobooks by Women)

Imogen! First Edition with Signed Photograph

A 2019 reprint of Daido Moriyama's 1972 photobook Farewell Photography, that has been signed by the artist.<ul><li>Daido Moriyama (Japanese).</li><li>Satoshi Machiguchi&nbsp;(Japanese).</li><li>Tokyo: Getsuyosha Limited, 2019.</li><li>280 pages.</li><li>Hardcover.</li><li>Hand-signed by Moriyama on the interior front page.</li><li>Part of a limited edition of 1,000.</li><li>The book includes a companion magazine with a retrospective essay by Moriyama as well as details and backgrounds for each single photobook</li><li>The English edition of the companion magazine opens with an edited English translation of Daido Moriyama’s conversation with Takuma Nakahira, originally included in Japanese in the 1972 release and never before translated.</li><li>Silk-screened canvas cover.</li></ul>

 Farewell Photography

A signed first edition copy of Ed Ruscha's artist book A Few Palm Trees.<ul><li>Ed Ruscha (American).</li><li>Printed by G.R. Huttner Lithography.</li><li>California: Heavy Industry Publications, 1971.</li><li>Includes photographs of thirteen palm trees, with the location of each palm tree printed on the page opposite each photo.</li><li>Followed by approximately thirty blank pages.</li><li>From an edition of 3,900 copies.</li><li>Photolithographic artist book on white 80lb Vicksburg Vellum text paper.</li></ul>

A Few Palm Trees

A first edition copy of William Klein's Life Is Good &amp; Good for You in New York.<ul><li>William Klein (American-French).</li><li>Paris: Éditions du Seuil, Album Petite Planète 1, 1956.</li><li>189 pages.</li><li>Quarto.</li><li>Includes black-and-white photographs printed in gravure by Roto-Sadag.</li><li>16 page stapled leaflet of illustrated captions laid in as issued.</li><li>Bound in black cloth-covered boards,&nbsp;with photo-illustrated endpapers, titles stamped in white on spine, in color illustrated dust jacket.</li></ul> Life Is Good &amp; Good For You in New York changed the parameters of what a book of photographs could be, representing William Klein's attempt to capture the kinetic quality of 1950s New York. After serving in the army towards the end of the Second World War, Klein moved to Paris in 1949 on the G.I. Bill and spent six years living there after studying painting, including a brief time with Fernand Léger. In 1954, Alexander Lieberman invited him back to New York to join the Vogue art department as a design assistant. Klein returned to New York. He didn't take the role with Vogue but spent eight taking photographs while rediscovering New York. Rejecting traditional ideas of sharpness, brightness and composition, Klein experimented with the layout using the Vogue darkrooms and Photostat, which allowed him to try many ideas such as cutting, pasting and playing with scale and sequencing quickly and easily. Neither Vogue nor any American publisher was interested in these photographs. Klein returned to Paris where he showed them to Chris Marker, then an editor at Éditions du Seuil. The publication of Life Is Good &amp; Good For You In New York was the first of several collaborations with Chris Marker. Six years later, Klein and his wife Janine appeared as "men of the future" in Marker's seminal film La Jetée (1962), with Klein providing the English narration.

Life Is Good & Good for You in New York

A first edition copy of Les Américains.<ul><li>Robert Frank (Swiss-American).</li><li>Paris: Encyclopédie Essentielle, Robert Delpire Éditeur, 1958.</li><li>172 pages.</li><li>Oblong octavo.</li><li>Includes black-and-white photographs printed in gravure by Draeger Frères.</li><li>With texts by various authors selected by Alain Bosquet.</li><li>Bound in laminated white paper-covered boards illustrated with an illustration by Saul Steinberg printed in light blue, black and red.</li></ul> "A sad poem for sick people." An uncommonly fine copy of the first published edition of Robert Frank's The Americans, a book that altered the course of twentieth-century photography and held a mirror to the American people. In his successful application for a Guggenheim grant, Frank wrote: "The project I have in mind is one that will shape itself as it proceeds… The material is there; the practice will be in the photographer's hand, the vision in his mind." Between April 1955 and June 1956, he set out on a series of trips across America. He aimed to complete a body of work that would be "a broad, voluminous picture record of things American, past and present... A visual study of a civilisation." Les Américains follows a careful and complex sequence, with four chapters, each exploring a different aspect of American culture and introduced by a photograph of the American flag. In this, the first edition, the photographs are accompanied by a series of texts by various writers selected by Alain Bosquet.

Les Américains

A limited edition copy of Life in Photographs, signed by Paul McCartney.<ul><li>Linda McCartney (American).</li><li>Germany: Taschen,&nbsp;2011.</li><li>Large folio.</li><li>Number 635 of 750 copies.</li><li>Bound in cloth, pictorial upper cover, in matching cloth clamshell box.</li></ul>

Life in Photographs

A first edition, signed copy of Christian Boltanski's artist book.<ul><li>Christian Boltanski (French).</li><li>Paris: Multiplicata, 1972.</li><li>24 pages, including covers.</li><li>Black-and-white photographs printed in offset throughout.</li><li>Part of an edition of 500 copies.</li><li>Signed on verso of the front wrapper.</li><li>Bound in white printed wire-stitched wrappers, printed in black.</li></ul> 10 Portraits Photographiques de Christian Boltanski contains a series of portraits purportedly showing the artist aged 2, 3, 5, 7, 9, 10, 11, 14, 17 and 20. Annette Messager took these photographs one afternoon in the Parc Montsouris in Paris when Boltanski enlisted strangers and friends' children to pose; Boltanski himself only features in the final portrait, but aged 28, not 20.

10 Portraits Photographiques de Christian Boltanski

First edition deluxe edition, one of 100 copies of Thomas Frederick Goodall's Life and Landscape on the Norfolk Broads.<ul><li>Peter Henry Emerson (English).</li><li>Thomas Frederick Goodall (English).</li><li>Life and Landscape on the Norfolk Broads, Illustrated with Forty Beautiful Plates from Nature Executed in Platinotype [The Plates are Absolutely Permanent]. With General and Descriptive Text.</li><li>London: Sampson Low, Marston, Searle, and Rivington, 1886.</li><li>Frontispiece and 39 platinum prints made by Valentine &amp; Son, Dundee.</li><li>Bound in a modern cloth portfolio incorporating the original cloth-covered boards with a pictorial image and title in gilt on upper side.</li></ul> Peter Henry Emerson is a crucial figure in the evolution of fine art photography, from its roots in the nineteenth century to its modernist manifestation in the early twentieth century. In Life and Landscape in the Norfolk Broads, his first and most important book, Emerson, accompanied by his friend, the artist Thomas Goodall, sought to document the disappearing traditions of rural working life. They capture scenes of reed harvesters, marshmen and eel catchers, balancing scientific and artistic developments in photography, social reportage and natural history. The photographs, 27 by Emerson and Goodall and 13 by Emerson alone, are accompanied by a text describing aspects of life in and around the inland waterways of the Norfolk Broads. "The subtle prints and insightful handling of the subjects combine to make this the most important of Emerson's illustrated books. The text gives sociological dimension to photographs that are cornerstones of British photographic estheticism." (Truthful Lens) According to Robert S. Kahan and J.B. Colson in their bibliography, a deluxe edition of 100 copies with a vellum cover decorated in black and gold and 750 ordinary copies in green cloth were initially advertised, but only 27 of the deluxe edition and 175 copies of the ordinary edition were issued.

Life and Landscape on the Norfolk Broads

A first-edition copy of Ansel Adams' photography book Sierra Nevada.<ul><li>Ansel Adams (American).</li><li>Sierra Nevada: The John Muir Trail.</li><li>Berkeley: The Archetype Press, 1938.</li><li>Includes 50 engravings and prints provided by The Lakeside Press, Chicago.</li><li>Part of a limited edition of 500 copies, of which this is numbered 241.</li><li>Signed and inscribed by Ansel Adams.</li><li>Bound in white cloth with black cover text.</li></ul>

Sierra Nevada

<a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/sothebys-&amp;-abbeville-press-capsule-libraries" rel="noopener noreferrer" target="_blank">Sotheby's &amp; Abbeville Capsule Libraries</a>&nbsp;present a curated selection of Abbeville Press books from the personal archive of publisher Bob Abrams, in conjunction with&nbsp;Art without Boundaries: The Abrams Family Collection. The&nbsp;Photographic Eye Collection&nbsp;is a set of 4 books on photography, including the below titles: <ul><li>A History of Women Photographers.</li><li>Naomi Rosenblum (American).</li><li>New York: Abbeville Press, 2010.</li><li>Third edition, revised and expanded, out of print.</li><li>432 pages.</li></ul> <ul><li>New Color/New Work: Eighteen Photographic Essays.</li><li>Sally Eauclaire (American).</li><li>New York: Abbeville Press, 1984.</li><li>First edition, out of print.</li><li>276 pages.</li></ul> <ul><li>L'Amour Fou: Photography And Surrealism.</li><li>Rosalind E. Krauss, Jane Livingston and Dawn Ades.</li><li>New York: Abbeville Press, 1985.</li><li>First edition, out of print.</li><li>243 pages.</li></ul> <ul><li>A World History of Photography.</li><li>Naomi Rosenblum (American).</li><li>New York: Abbeville Press, 2019.</li><li>Fifth edition, revised and expanded, in print.</li><li>748 pages.</li></ul> At Abbeville Press, Bob Abrams published not only many distinguished books&nbsp;of&nbsp;photography, but also several important books&nbsp;about&nbsp;photography—volumes that served to sharpen the reader’s “photographic eye.” This capsule library includes two seminal works by Naomi Rosenblum:&nbsp;A World History of Photography, the most ambitious treatment of photography as a branch of art history ever written, and her equally monumental&nbsp;History of Women Photographers.&nbsp;New Color/New Work: Eighteen Photographic Essays&nbsp;surveyed the emerging field of fine art color photography and included portfolios by William Eggleston, Stephen Shore, Joel Meyerowitz, and other now-legendary names. Finally,&nbsp;L'Amour Fou: Photography and Surrealism,&nbsp;originally published as the catalogue of an exhibition at the Corcoran Gallery, became a touchstone for a generation of artists and art historians who were ready to embrace the “optical unconscious.”

Photographic Eye Collection

A first edition copy of Bistrots, signed by all three contributors, deluxe edition out of 200 copies.<ul><li>Robert Doisneau (French).</li><li>Jacques Prévert (French).</li><li>Robert Giraud French).</li><li>France: Souillac &amp; Mulhouse, Le Point, 1960.</li><li>48 pages.</li><li>Octavo.</li><li>With black-and-white photographs by Doisneau printed in gravure.</li><li>Number 23 of 200 copies on Velin d'Arches paper.</li><li>Signed by Robert Doisneau, Jacques Prévert and Robert Giraud on the colophon.</li><li>Bound in burgundy silk-covered boards, with spine and upper side stamped in gold, in publisher's acetate dust jacket.</li></ul> Deluxe issue of 200 copies, this copy printed for "Monsieur Love." The ordinary edition was published as number 57 of the quarterly artistic and literary journal Le Point, this issue focusing on French bistros. In praising the work of Robert Doisneau, whose evocative photographs “seem the perfect embodiment of Gallic wit and romance” (New York Times), MoMA curator John Szarkowski particularly singled out images Doisneau took for this 1960 edition of the French journal&nbsp;Le Point. In praising Doisneau’s photograph of “a potential seduction,” entitled “At the Café, Chez Fraysse, Rue de Seine, Paris, 1958” (9), Szarkowski writes that “one is tempted to believe that even the painters of the 18th century never did the subject so well” (Looking at Photographs, 172). The 44 vibrant heliogravures seen here in&nbsp;Bistrots&nbsp;display the “characteristic warmth and humanity” (Parr &amp; Badger I:201) that made Doisneau a leading figure of French humanist photography. Text in French; with a three-page facsimile of Jacques Prévert’s autograph manuscript for his poem “Gravures sur le Zinc,” Robert Giraud’s essay “Bistrots,” and photographic captions by Doisneau.

Bistrots

A first edition, inscribed presentation copy of Miyako Ishiuchi's Yokosuka Story, signed by the artist.<ul><li>Miyako Ishiuchi (Japanese).</li><li>With text by Araki Nobuyoshi in Japanese, and by Ken Bloom and Ishiuchi Miyako in Japanese and English.</li><li>Tokyo: Shashin Tsushinsha, 1979.</li><li>Oblong quarto.</li><li>Includes black-and-white photographs printed in offset.</li><li>Inscribed on the half-title.</li><li>Bound in photo-illustrated wrappers.</li></ul>

Yokosuka Story

Annie Leibovitz Art Edition No. 1-275 with David Byrne ChromaLuxe aluminum print with floating frame.<ul><li>Annie Leibovitz (American).</li><li>Köln: Taschen, 2023.</li><li>556 pages.</li><li>Signed and numbered print.</li><li>Hardcover in slipcase.</li></ul>

Annie Leibovitz Art Edition No. 1–275 David Byrne

A first-edition copy of the catalog for Keith Haring's exhibit at Tony Shafrazi Gallery, featuring the iconic neon Haring Three Eyed Smiling Face cover.<ul><li>Forward by Tony Shafrazi (American).</li><li>Includes texts by Keith Haring, Jeffrey Deitch, Robert Pincus-Witten and David Shapiro.</li><li>Includes photographs of Haring's subway drawings by Haring’s close friend Tseng Kwong Chi.</li><li>Designed by Dan Friedman.</li><li>New York: Tony Shafrazi Gallery, 1982.</li><li>144 pages.</li><li>Softcover.</li><li>Includes 15 double-sided lithographic inserts.</li><li>Part of a limited edition of 2,000 copies.</li><li>Metal wire bound.</li></ul>

Keith Haring at Tony Shafrazi Gallery Catalog

A Day In The Life records one historic day spent with The Beatles, as documented by award-winning photojournalist Michael Ward.<ul><li>Michael Ward (English).</li><li>London: Genesis Publications, 2006.</li><li>Number 530 of 750 copies.</li><li>Signed by Michael Ward.</li><li>Fine-screen printed on to heavyweight uncoated cream paper, in three special inks including copper.</li><li>This boxed set consists of twenty-four large format lithographs and a 64 page book telling the story of one winter day spent with The Beatles in Liverpool.</li><li>Bound by hand in midnight-blue Indian silk, with intricate gold and copper blocking on the front cover and copper page edging.&nbsp;</li></ul> Ward's photo-essay was shot during twenty-four hours during February 1963, the day The Beatles discovered they had achieved their first UK No. 1 single. Ward’s photographs of The Beatles on the cusp of Beatlemania beautifully portray the band strolling through the streets and along the docks of Liverpool, at Brian Epstein’s NEMS offices, even rehearsing and performing one of their final gigs at The Cavern. Through extensive interviews with Michael Ward, A Day in the Life paints a picture of four young men whose lives were about to change.

A Day In The Life 

This Art Edition covers over two decades of photo duo&nbsp;van Lamsweerde and Matadin's genre-defying practice and comes with two signed prints.<ul><li>Sold as a set of 5.</li><li>Inez van Lamsweerde (Dutch).</li><li>Vinoodh Matadin (Dutch).</li><li>Cologne: TASCHEN, 2012.</li><li>985 pages.</li><li>3 hardcover volumes in a slipcase, with an origami-folded silk-screened poster.</li><li>Books include over 600 photographs.</li><li>Part of an edition of 100.</li><li>Includes 2 archival prints in a portfolio, each signed by the artists.</li></ul> Photo duo&nbsp;van Lamsweerde and Matadin&nbsp;destabilize the polished surfaces and easy labels of consumer culture. Their imagery floats between fashion and art, between elite and mainstream, and between registers and references including the&nbsp;Gothic, androgyny, eroticism, and surrealism.

Pretty Much Everything Art Edition: McQueen and Kate

In&nbsp;SIR, Mario Testino's largest book to-date, the influential photographer presents&nbsp;over 300 photographs in his search to define the allure of men.<ul><li>Mario Testino (Peruvian, b. 1954).</li><li>TASCHEN, 2015.</li><li>468 pages.</li><li>Featuring&nbsp;an essay by Pierre Borhan, an interview with Patrick Kinmonth&nbsp;and many previously unpublished works from Testino's archive, this book traces the&nbsp;evolution of male identity over the past three decades.</li><li>Numbered and signed by Testino.</li><li>Edition of 1,000.</li><li>Hardcover with&nbsp;Swiss binding and bound in Japanese cloth with metallic slipcase.</li></ul> Few photographers are more renowned than Mario Testino. One of today’s most prolific names in fashion, he is known for capturing images that celebrate luxury and joyous hedonism while illuminating rock stars, models, actors and royalty in their finest moments.&nbsp;&nbsp;The Peruvian-born Testino arrived in London to study photography during the decadent ’70s, a stark contrast against his Catholic middle-class upbringing. Inspired by photographers such as Cecil Beaton and Richard Avedon, he apprenticed under John Vickers and Paul Nugent, and his early work appeared in&nbsp;Vogue&nbsp;in 1983. He rose to fame in 1997, after creating a series of portraits of Diana, Princess of Wales. Possessing a talent for shooting beautiful clothes, Testino’s collaboration with Tom Ford and Carine Roitfeld in the mid-’90s was responsible for the revitalization of Gucci, and his images of Kate Moss and Gisele Bündchen elevated them to supermodel status.&nbsp;

<a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/sothebys-&amp;-abbeville-press-capsule-libraries" rel="noopener noreferrer" target="_blank">Sotheby's &amp; Abbeville Capsule Libraries</a>&nbsp;present a curated selection of Abbeville Press books from the personal archive of publisher Bob Abrams, in conjunction with&nbsp;Art without Boundaries: The Abrams Family Collection. The&nbsp;Photographic Eye Collection&nbsp;is a set of 4 books on photography, including the below titles: <ul><li>A History of Women Photographers.</li><li>Naomi Rosenblum (American).</li><li>New York: Abbeville Press, 2010.</li><li>Third edition, revised and expanded, out of print.</li><li>432 pages.</li></ul> <ul><li>New Color/New Work: Eighteen Photographic Essays.</li><li>Sally Eauclaire (American).</li><li>New York: Abbeville Press, 1984.</li><li>First edition, out of print.</li><li>276 pages.</li></ul> <ul><li>L'Amour Fou: Photography And Surrealism.</li><li>Rosalind E. Krauss, Jane Livingston and Dawn Ades.</li><li>New York: Abbeville Press, 1985.</li><li>First edition, out of print.</li><li>243 pages.</li></ul> <ul><li>A World History of Photography.</li><li>Naomi Rosenblum (American).</li><li>New York: Abbeville Press, 2019.</li><li>Fifth edition, revised and expanded, in print.</li><li>748 pages.</li></ul> At Abbeville Press, Bob Abrams published not only many distinguished books&nbsp;of&nbsp;photography, but also several important books&nbsp;about&nbsp;photography—volumes that served to sharpen the reader’s “photographic eye.” This capsule library includes two seminal works by Naomi Rosenblum:&nbsp;A World History of Photography, the most ambitious treatment of photography as a branch of art history ever written, and her equally monumental&nbsp;History of Women Photographers.&nbsp;New Color/New Work: Eighteen Photographic Essays&nbsp;surveyed the emerging field of fine art color photography and included portfolios by William Eggleston, Stephen Shore, Joel Meyerowitz, and other now-legendary names. Finally,&nbsp;L'Amour Fou: Photography and Surrealism,&nbsp;originally published as the catalogue of an exhibition at the Corcoran Gallery, became a touchstone for a generation of artists and art historians who were ready to embrace the “optical unconscious.”

A catalogue of adrenaline and awe, this Art Edition of&nbsp;Michael Muller’s epic shark photography&nbsp;is a tribute to the beauty, might and fragility of the ocean predator.<ul><li>Michael Muller (American).</li><li>Köln:&nbsp;Taschen, 2016.</li><li>334 pages</li><li>Hardcover.</li><li>Art Edition No. 1–100, edition of 100.</li><li>Numbered and signed by Muller.</li><li>Includes the signed print&nbsp;Tear You Apart&nbsp;(2009).</li><li>Presented with metal cage case.</li></ul>

Sharks: Art Edition

A first edition of Ruscha's eleventh book, featuring one bespoke baby (his own) and many mass-produced commercial cakes.<ul><li>Edward Ruscha (American).</li><li>Photographs by Elizabeth Claman, Sid Felson, Jerry McMillan, Danna Ruscha and Ed Ruscha.</li><li>New York: Multiples, Inc., 1970.</li><li>52 pages.</li><li>Bound in the original robin's-egg blue wrappers with pink satin ribbon tie and green flocked lettering.&nbsp;</li></ul> Babycakes With Weights was originally issued by Goodman's imprint as part of the boxed portfolio set Artists and Photographs, with a catalog and works by 18 other contemporary artists (Sol LeWitt, Bruce Nauman, Robert Rauschenberg, Andy Warhol and others). Despite the cover's uncharacteristic soft pastels and textures, the book's photographs are in black and white, as austere as frosted cakes ever are. The pictured baby, at a stated 15 lbs 8 oz, weighs double the largest cake shown, or approximately 70 Hostess cinnamon rolls.

Babycakes With Weights

Kishin Shinoyama’s widely unseen portrait series of John Lennon and Yoko Ono, shot at Ono’s request for the cover of the couple’s 1980 album, Double Fantasy.<ul><li>Kishin Shinoyama (Japanese).</li><li>Köln: TASCHEN, 2014.</li><li>174 pages.</li><li>Hardcover.</li><li>Part of an Art Edition of 125 (No. 126–250).</li><li>Signed by Yoko Ono and Kishin Shinoyama.</li><li>Accompanied by an unframed pigment print on Hahnemühle PhotoRag paper, signed by Shinoyama.</li><li>Presented in a clothbound clamshell box.</li></ul> Renowned for his sensual, provocative images, Kishin Shinoyama is one of Japan’s most controversial and acclaimed artists, at once hailed by critics and charged for public indecency. His capacity for ease and intimacy is perhaps most poignantly expressed in his beautiful series of photographs of Yoko Ono and John Lennon, shot for the cover and promotion of the couple’s celebrated 1980 album, Double Fantasy, just three months before Lennon’s untimely death. Featuring many previously unseen images, the series resonates with a remarkable honesty, and immortalizes this iconic couple at a pivotal moment in their personal and creative relationship.

John Lennon and Yoko Ono: Double Fantasy Art Edition No. 126–250 Untitled

Reissue of Newton's 1999 SUMO book in half the size with silver stand included.<ul><li>Helmut Newton (German).</li><li>Edited by June Newton (Australian).</li><li>Köln: Taschen, 2023.</li><li>464 pages.</li><li>Hardcover.</li><li>Limited edition of 10,000.</li><li>Includes a&nbsp;stainless-steel bookstand designed by Philippe Starck (French).</li></ul> Enduring the turbulent mid-20th century, Helmut Newton rose to become one of the most sought-after photographers in his five-decade-long career, creating iconic and provocative images.&nbsp;&nbsp;Born in Berlin in 1920, Newton was drawn to photography at the age of 12, apprenticing under the photographer Yva. When his family fled Nazi Germany in 1938, Newton brought two cameras which allowed him to work in Singapore as a photographer. After internment by British authorities sent him to a camp in Australia, he joined the army to fight in WWII and became a British citizen, changing his name from Neustädter to Newton.&nbsp;&nbsp;Newton founded his business in Melbourne and married June Browne (who later became a successful photographer using the pseudonym Alice Springs). Commissioned to illustrate fashion for an Australian supplement of&nbsp;Vogue, Newton won&nbsp;ongoing work for the famed magazine, leading him throughout Europe. Influenced by Alfred Hitchcock and French New Wave, he developed a distinctive cinematic style. His themes of erotica, confrontational nudes and S&amp;M earned him notoriety while cementing his place in photography’s history. In 2003, Newton and his wife established the Helmut Newton Foundation in Berlin, a cultural mecca that preserves his legacy with ongoing talks and exhibits.

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Harry Callahan

Leni Riefenstahl

Nobuyoshi Araki

Walker Evans

Robert Frank

Cor Jaring

Damien Hirst , Ian Jeffrey

TASCHEN, Norman Mailer

Paul Strand

László Moholy-Nagy

Stanley B. Burns, Elizabeth Burns

TASCHEN, Linda McCartney

Robert Frank

Walker Evans

Imogen Cunningham

Daido Moriyama

Ed Ruscha

William Klein

Robert Frank

Linda McCartney

Christian Boltanski

Peter Henry Emerson, Thomas Frederick Goodall

Ansel Adams

Various Authors

Robert Doisneau, Prévert, Jacques, Robert Giraud

Miyako Ishiuchi

Annie Leibovitz, TASCHEN

Keith Haring

Michael Ward, The Beatles

TASCHEN, Inez van Lamsweerde and Vinoodh Matadin

TASCHEN, Mario Testino

Various Authors

TASCHEN, Michael Muller

Edward Ruscha

Kishin Shinoyama

TASCHEN, Helmut Newton