Tony Ray-Jones, 1941-1972

Silver Prints, each approx. 135 by 200mm or the reverse, each mounted on board, each numbered I-XV and numbered '99/125' in pencil on the mount below image, each with a 'Tony Ray-Jones' blindstamp on the mount, each with two wetstamps on the reverse (one signed by John Benton-Harris to authenticate the prints having being made from Ray-Jones' original negatives, the other the stamp of the publisher, Photographic Collections Ltd), with archival paper inserts, together with an 8-page insert including biographical essay by Peter Turner and colophon, no. 99 in an edition of 125 (with 12 Artist's Proofs), clothbound portfolio stamped 'Tony Ray-Jones' on upper cover and on spine, also with publisher's stamp on the spine, slipcase, with original packing box, large folio

Tony Ray-Jones is one of the leading photographers of the second half of the twentieth-century. It is possible to claim this for him even though he died (at the age of thirty-one) in 1972. The body of work that he created was significant on two counts: it took account of contemporary developments in American street photography and yet fashioned an idiom that was unmistakeably British.

The images for this portfolio were selected by Peter Turner in collaboration with Anna Ray-Jones, the photographer's widow, and Barry Lane. The prints were made by John Benton-Harris and Emanuel Sandreuter designed the portfolio.