First Edition Art & Design Books

Beatrix Potter

A preparatory sketch for the 1905 <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first edition</a> of The Tale of Mrs Tiggy-Winkle by <a href="https://www.sothebys.com/en/search?query=Beatrix+Potter&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Beatrix Potter</a>, accompanied by a first printing of the book.<ul><li>Sold as a set of 2.</li><li>Beatrix Potter (English).</li><li>London: Warne, 1905.</li><li>Sketch is pencil on paper, and has been mounted, framed and glazed.</li><li>The illustration itself appears on page 22 in the 1905 edition.</li></ul> Potter’s enchanting tale of the little hedgehog washer woman, an exceptionally scarce item, coupled with the first edition book; with an association to writer and Beatrix Potter expert Leslie Linder.

The Tale of Mrs Tiggy-Winkle First Edition, with Preparatory Sketch

Andy Warhol | Julia Warhola

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first edition</a> of Holy Cats by <a href="https://www.sothebys.com/en/search?query=Andy+Warhol&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Andy Warhol</a>'s mother Julia Warhola, <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Type=Signed%2520and%2520Inscribed" rel="noopener noreferrer" target="_blank">signed</a> by Andy Warhol.<ul><li>Julia Warhola (Slovak-American).</li><li>Signed by Andy Warhol (American).</li><li>[New York]: [privately printed], [1954].</li><li>Octavo.</li><li>21 offset lithographs on various colored paper (including cover).</li><li>Signed by Warhol at the bottom of the front blank facing the title and with a hand drawn copyright symbol.</li><li>Original boards with offset lithographic covers.</li></ul> Julia Warhola was an accomplished artist in her own right whose whimsical style was an influence on her son. Her calligraphy was integral to Warhol's early work as a book designer and commercial artist, where it often appeared in his designs. Printed privately by Warhol in the early to mid 1950s while a commercial artist. Very scarce, particularly in good condition and rarely found signed.

Holy Cats First Edition, Signed by Andy Warhol

Andy Warhol

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Type=Signed%2520and%2520Inscribed" rel="noopener noreferrer" target="_blank">signed</a> <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first edition</a> of From A to B and Back Again: The Philosophy of <a href="https://www.sothebys.com/en/search?query=Andy+Warhol&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Andy Warhol</a>.<ul><li>Andy Warhol (American).</li><li>London: Cassell, 1975.</li><li>Octavo.</li><li>241 pages.</li><li>Presentation copy, signed by author ‘To Ian / Dog / Andy Warhol, London 1975’. </li><li>With an original drawing of dog’s head on the half-title.</li><li>Publisher’s cloth, dust-jacket.</li></ul> With a very rare inscription in that Warhol has drawn a dog’s head, and not the familiar soup.

From A to B And Back Again: The Philosophy of Andy Warhol | Signed First Edition

Johann Wolfgang von Goethe | Henry Moore

A limited <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first edition</a> of this artistic rendition of the French translation of <a href="https://www.sothebys.com/en/search?query=Goethe&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Goethe</a>'s unfinished play, with lithographs by renowned sculptor <a href="https://www.sothebys.com/en/search?query=Henry%20Moore&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Henry Moore</a>.<ul><li>Johann Wolfgang von Goethe (German).</li><li>Lithographs by Henry Moore (English).</li><li>Translated by Andre Gide.</li><li>[Paris]:&nbsp;Henri Jonquières / P. A. Nicaise,&nbsp;1950 (completed in 1951).</li><li>[2], 69 pages of loose folia.&nbsp;</li><li>Illustrated with 14 color lithographs.</li><li>Number 183 of 183.</li><li>Text in French.</li><li>Original brown pictorial wrapper, in original board clamshell box, with red lettering.</li></ul> Henry Moore created the lithographs for Prométhée at the height of his fame, as he began to take on more large-scale public works. Many of his illustrations feature a Dalí-esque stark landscape populated by abstracted epic figures, complimenting Goethe's retelling of the Greek creation myth — a fitting story to be executed by a sculptor.

Prométhée Limited First Edition

Daido Moriyama

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first edition</a> of <a href="https://www.sothebys.com/en/search?query=Daido+Moriyama&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Daido Moriyama</a>'s Shashin yo Sayonara, <a href="First edition, signed in black ink on title-page; 4to (230 x 181 mm, 9 x 7¼ in); black &amp; white photographs printed in gravure, transcript of a conversation between Moriyama Daido and Nakahira Takuma; plain endpapers with small mark from bookseller's label, printed wrappers, black, grey, and blue, light reading crease, printed white dust jacket, text in black, blue, and grey, lightly rubbed and marked, light darkening to spine, an excellent copy in a custom drop spine box ; 308, [2]pp." rel="noopener noreferrer" target="_blank">signed</a> by the artist.<ul><li>Daido Moriyama (Japanese).</li><li>Tokyo: Shashin Hyoron-sha, 1972.</li><li>Quarto.</li><li>308, [2] pages.</li><li>Black and white photographs printed in gravure.</li><li>Transcript of a conversation between Moriyama Daido and Nakahira Takuma.</li><li>Signed in black ink on title-page.</li><li>Text in Japanese. </li><li>Plain endpapers with small mark from bookseller's label, printed wrappers, black, grey, and blue, printed white dust jacket, text in black, blue, and grey, in a custom drop spine box.</li></ul> Shashin yo Sayonara is the central book of the Provoke movement, born out of Moriyama's perceived limitations of Provoke's manifesto and photography as a medium. The resulting combination of images re-photographed from newspapers, magazines, television screens, other people's negatives, and his own pictures composed mainly of out-takes, scratched frames, and blurred images was sequenced by two editors at Shashin Hyoron-sha in a seemingly random order to create a visual manifestation of the overpowering density of life in modern Japan.

Shashin yo Sayonara Signed First Edition

Robert Venturi | Muriel Cooper | Denise Scott Brown | Steven Izenour

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first edition</a> of Learning from Las Vegas.<ul><li>Robert Venturi (American).</li><li>Denise Scott Brown (American).</li><li>Steven Izenour (American).</li><li>Muriel Cooper (American).</li><li>Cambridge, Massachusetts: The MIT Press, 1972.</li><li>Large quarto.</li><li>Color and black and white photographs, diagrams, plans and maps.</li><li>Plain endpapers, dark grey cloth-covered boards, titles stamped in gold on sides and spine, color photographic reproduction mounted on upper side, publisher's printed glassine dust-jacket, housed in a custom black cloth drop spine box.</li></ul> This early manifesto of postmodernism was designed by Muriel Cooper (1925-1994), a pioneering graphic designer and one of the first designers to see the potential of computers as tools for inventing new ways to organize visual information. She was the first design director of the MIT Press, cofounder of the Visible Language Workshop at MIT, and the first woman to be granted tenure at MIT's Media Lab, where she taught a new generation of designers. Her work spans print to software interfaces. Learning from Las Vegas is compiled from research materials gathered in 1968 by students of a third-year graduate class at Yale School of Architecture, taught by Robert Venturi, Denise Scott Brown, and Steven Izenour. The class Learning from Las Vegas, or Form Analysis as Design Research, required the students to make a non-judgemental study of the city and how it functioned, and their research was documented through photographs, films, maps, and diagrams. Muriel Cooper was tasked with translating the diverse materials from the studio into a book, initially planning for the book to be protected by a bubble wrap dust-jacket, with fluorescent dots on the boards. 'The visual materials were not only graphically rich but as content-laden as the text, so the interdependent rhythms of those relationships were important. I wanted to arrange visual and verbal materials spatially in a nonlinear way to enhance the reader's comprehension.' Robert Venturi and Denise Scott Brown were unimpressed and enacted a complete, much more traditional redesign for the 1977 paperback second edition, dismissing Cooper's work in their preface. Cooper's reputation and legacy have grown and grown since.

Learning From Las Vegas First Edition

John Gossage

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Type=Signed%2520and%2520Inscribed" rel="noopener noreferrer" target="_blank">signed</a> <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first edition</a> of LAMF by <a href="https://www.sothebys.com/en/search?query=John%20Gossage&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">John Gossage</a>.<ul><li>John Gossage (American).</li><li>[Washington D.C.], [Self-published], [1987]. </li><li>48 pages.</li><li>26 mounted gelatin silver photographs, each numbered with a red or black ink stamp.</li><li>Number 14 of 100 copies.</li><li>Signed by the artist.</li><li>With a mounted sealed letter of introduction.</li><li>Blue cloth-covered boards, title stamped to upper side in gold, original dustjacket made from a contemporary Berlin newspaper, title stamped in black and red on upper panel and in black on spine.</li></ul> Each copy of LAMF contains a different selection of 25 and 30 photographs chosen from the complete series of around 100 images. In 1982, Gossage was invited to exhibit and give a workshop at the Werksatt für Fotgrafie in Kreuzberg, Berlin, founded in 1976 by Michael Schmidt. In the early 1980s, Schmidt invited several American photographers, including Lewis Baltz, William Eggleston and Gossage, to exhibit and teach workshops. These cultural exchanges greatly informed the work of all who took part. Gossage made many subsequent visits, and it was here in Berlin, where the past was manifestly visible, that he began making photographs that would inform all of his subsequent work. Gossage took these photographs in Berlin using a telephoto lens and surveillance film. The series title relates to Gossage’s memory of a graffiti warning he often saw whilst growing up in New York City in the 1950s and ‘60s. LAMF (Like a Mother Fucker) was an acronym used by street gangs to mark their territory. However, when Gossage saw the same letters on walls in Berlin, it seemed more likely that they were written in homage to Johnny Thunders and the Heartbreakers’ 1977 album, which had the same name. When prompted some twenty-five years later, he offered ‘Lost Angels and Missing Friends’.

LAMF [Lost Angels and Missing Friends or Like a Mother Fucker] Signed First Edition

Robert Frank

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first edition</a> of <a href="https://www.sothebys.com/en/search?query=Robert%20Frank&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Robert Frank</a>'s <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?Book%20Type=Art%2520and%2520Design" rel="noopener noreferrer" target="_blank">photobook</a> The Americans.<ul><li>Robert Frank (American).</li><li>New York: Grove Press, Inc., 1959.</li><li>170 pages.</li><li>First American edition.</li><li>83 black and white photographs printed in gravure.</li><li>Plain endpapers, black cloth-covered boards, titles to spine in gold, white photo-illustrated dust-jacket printed in black, black and red collage by Alfred Leslie on the lower panel.</li></ul> The first American edition of Frank's masterpiece, after Robert Delpire's Les Américains, was published in France the previous year. The Americans follows a careful and complex sequence, with four chapters, each introduced by a photograph of the American flag. In his successful application for the Guggenheim grant that allowed him to make this work 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. His aim was 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.' For this, the defining edition, Frank stripped the texts which appeared opposite the photographs in Delpire's edition and added an introduction by Jack Kerouac, who writes, 'What a poem this is, what poems can be written about this book of pictures some day by young new writers.... Whether 'tis the milk of humankind-ness, or human-kindness, Shakespeare meant, makes no difference when you look at these pictures. Better than a show... Robert Frank, Swiss, unobtrusive, nice, with that little camera that he raises and snaps with one hand he sucked a sad poem right out of America onto film, taking rank among the tragic poets of the world!' Like Vladimir Nabakov, Frank saw 1950s America as no American could have seen it, 'the loneliness, alienation, rootlessness, and sadness of automobile-happy mid-century America.' David Levi Strauss referred to the French edition as sociology, whereas the American edition is poetry. And as Kerouac writes 'Anybody doesn't like these pitchers don't like potry, see?' With this book, Frank galvaniZed photography for his generation and has influenced, in some way, every other generation since.

The Americans | First American Edition

A group of <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?Book%20Subject=Association%2520items" rel="noopener noreferrer" target="_blank">association copies</a> of the work of <a href="https://www.sothebys.com/en/search?query=Robert%20Frank&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Robert Frank</a>, including <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first editions</a> and <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Type=Signed%2520and%2520Inscribed" rel="noopener noreferrer" target="_blank">signed</a> books.<ul><li>Sold as a set of 4 volumes.</li><li>Robert Frank (Swiss-American).</li><li>Les Américains [with] New York Is; [and] The Americans; [and] London / Wales.</li><li>Paris: New York; New York; Zurich, 1958; [1959]; 1969; 2003.</li></ul> Includes the following: <ul><li>Les Américains. Photographies de Robert Frank.</li><li>Paris: Encyclopédie Essentielle, Robert Delpire Éditeur, 1958.</li><li>First edition.</li><li>Inscribed in black ink on half-title.</li><li>Oblong octavo.</li><li>172 pages.</li><li>Black and white photographs printed in gravure by Draeger Frères, Montrouge.</li><li>Texts by various authors selected by Alain Bosquet.</li><li>Occasional minor spotting.</li><li>Plain thick endpapers, sewn headband, laminated white paper-covered boards illustrated with an illustration by Saul Steinberg printed in light blue, black, and red, lightly toned, light creasing to upper joint.</li><li>Motomura Kazuhiko’s card sleeve titled in black ink on upper side.</li></ul> <ul><li>New York Is.</li><li>Introduction by Gilbert Millstein.</li><li>[New York], [New York Times Company], [1959].</li><li>First edition.</li><li>Signed in black ink on verso of front free endpaper.</li><li>Quarto.</li><li>56 pages.</li><li>Black and white photographs.</li><li>Light toning to edges.</li><li>Black front and red rear endpapers, printed paper-covered boards, white, titles in black, light toning to edges, light wear to head and foot of spine, top corner bumped, without the laid in letter from the advertising director.</li><li>Motomura Kazuhiko’s card sleeve titled in black ink on upper side.</li></ul> <ul><li>The Americans. Photographs by Robert Frank. </li><li>Introduction by Jack Kerouac.</li><li>Afterword by Robert Frank with details of the four films he made 1959- 68.</li><li>New York: An Aperture Book, Grossman Publishers, 1969.</li><li>Oblong octavo.</li><li>182 pages.</li><li>Second edition, revised and enlarged.</li><li>Inscribed in black ink.</li><li>Black and white photographs printed in ‘stonetone’ offset by Rapoport Printing Corp., New York.</li><li>Occasional light spotting, light marking to edges, printer’s ink mark to one page.</li><li>Plain endpapers, light spotting, black cloth-covered boards, titles to spine in gold, photo-illustrated dust-jacket, white, text in black, minor toning, lightly marked.</li><li>Motomura Kazuhiko’s card sleeve titled in black ink on upper side.</li></ul> <ul><li>London / Wales. </li><li>Zurich, Berlin, New York: Scalo, 2003.</li><li>Quarto.</li><li>126 pages.</li><li>First edition.</li><li>Inscribed in black ink on half-title.</li><li>Black and white photographs printed in offset.</li><li>Plain endpapers, black cloth-covered boards, titles to spine in grey, photo- illustrated dust-jacket, white, text in black.</li><li>Minor shelfwear.</li><li>Motomura Kazuhiko’s card sleeve titled in black ink on upper side.</li><li>Photocopy of list exhibited works shown at the Corcoran Gallery, Washington laid in.</li></ul> Motomura Kazuhiko was a civil servant who grew up watching Akira Kurosawa films, which led to his interest in visual art and black-and-white photography. He was an important collector of photographs and photography books and a tireless champion of Japanese photographers, promoting their work and supporting their books and exhibitions. He published four books over a 37-year period: Robert Frank’s The Lines of My Hand (1972), Flower Is (1987), and The Americans: 81 Contact Sheets (2009); Jun Morinaga’s River, its shadow of shadows (1978); and helped organize or distribute others, including Mochizuki Masao’s Television (2001) and Suzuki Kiyoshi’s Tenmaku No Machi [A Town of Tents]: Mind Games (1982). In 1960, Motomura worked as a tax officer. While still employed, he enrolled in the Shashin Sōgō Senmon Gakkō (now Tokyo College of Photography), where he was taught by Ishimoto Yasuhiro and Shigemori Koen. After participating in the demonstrations against the 1960 renewal of the US Japanese security treaty, Motomura resigned from his position, fearing that his employers might penalize him. While studying photography, Motomura was introduced to Robert Frank’s work when he saw the portfolio of thirty-eight photographs in US Camera Annual 1958 (of which twenty-three would appear in The Americans). Ishimoto Yasuhiro recommended that he buy Les Américains instead of The Americans because he thought the printing was better. Motomura met and befriended Morinaga Jun at the Tokyo College of Photography. Morinaga assisted W. Eugene Smith on a commission for Hitachi that would become Japan: Chapter of Image (1963). Through Morinaga, Motomura met W. Eugene Smith, who introduced him to Robert Frank as a favor in return for Motomura helping Smith to organise a retrospective exhibition in Tokyo. In October 1970, Motomura and his classmate Hataya Norio travelled to New York to meet Robert Frank. During this trip, Motomura also visited W. Eugene Smith and his fiancé Aileen, and they discussed the idea of travelling to Minamata in Southern Japan to photograph the devastating effects of mercury poisoning on the local populace. In 1971, Smith and Aileen moved to Minamata, where they spent three years photographing and researching the devastating effects of mercury poisoning on the local populace. While working on the Minamata project, Smith’s initial living costs in Japan were covered by Motomura Kazuhiko. When Motomura first met with Frank, Aileen acted as an interpreter. Frank recounts this first meeting in the preface to The Lines of My Hand, in which he writes of how he was visited by two Japanese editors and inspired by their respect for his art and their eagerness to publish his book in Japan, a project he describes as reviving his interest in photography at a time when he had abandoned it for filmmaking: ‘Well, one evening early late or middle last November, two Japanese gentlemen rang my bell on the Bowery. Mr. Kazuhiko Motomura and Mr. Toshio [Norio] Hataya did not speak any English or where [sic] too shy to try. They brought a girl who translated... I remember the evening very well. They said that they had always liked my photographs. They came to New York to ask my permission to have a book published of my work. Something like that had never happened to me. I was impressed and happy. They also gave me a small excellent taperecorder [sic] on which part of our conversation was recorded. Then they apologized that they hadn’t given me a brand new one. When the two gentlemen left I said to June, I’m really going to work on that and try to make it good. It was the right time for me, I was just finishing my last film “About me... A Musical”. I had gone to Nova Scotia in the summer and bought a place in order to get away from it all and to see the clear ocean and to be more alone. So once more, I go back to look at all these exposed memories, all these buildings, skies and people – lost and saved up...’

Les Américains [with] New York Is [and] The Americans [and] London / Wales First Editions

Alvin Langdon Coburn

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first edition</a> of <a href="https://www.sothebys.com/en/search?query=Alvin%20Langdon%20Coburn&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Alvin Langdon Coburn</a>'s <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/art-&amp;-design" rel="noopener noreferrer" target="_blank">photobook</a> New York.<ul><li>Alvin Langdon Coburn (American).</li><li>With a foreword by H. G. Wells.</li><li>London and New York: Duckworth &amp; Co, Brentano’s, [1910].</li><li>Folio.</li><li>12, [40] pages.</li><li>20 hand-pulled photogravures printed under Coburn’s supervision from plates prepared by him.</li><li>Grey endpapers, olive morocco-backed grey boards with gilt lettering on upper side, publisher’s grey printed dust jacket with letterpress titles in dark blue on upper side, in a custom drop spine box.</li></ul> In 1909 and 1910, Coburn produced two books, London and then New York. While the photographs in London reach back to the nineteenth century and beyond, New York is the more proto-modernist work, with this most modern of twentieth-century cities pushing Coburn towards a more radical way of seeing. In Camera Work 36 (October 1911), Coburn wrote: ‘It has been said of me... that I work too quickly, and that I attempt to photograph all New York in a week. Now to me New York is a vision that rises out of the sea as I come up the harbor on my Atlantic liner... I can do only the creative part of photography, the making of the negative, with the fire of enthusiasm burning at the white heat; but the final stage, the print, requires quiet contemplation, time, in fact, for its fullest expression. That is why my best work is from American negatives printed in England... it is only at twilight that the city reveals itself to me in the fullness of its beauty, when the arc lights on the Avenue click into being.'

New York First Edition

Claude Cahun

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first edition</a>, presentation copy of Le Coeur de Pic, <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Type=Signed%2520and%2520Inscribed" rel="noopener noreferrer" target="_blank">inscribed</a> by <a href="https://www.sothebys.com/en/search?query=Claude%20Cahun&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Claude Cahun</a>.<ul><li>Claude Cahun [pseudonym of Lucy Schwob] (French).</li><li>Lise Deharme (French).</li><li>Preface by Paul Eluard.</li><li>Le Coeur de Pic. Trente-deux poèmes pour les enfants illustrés de vingt photographies par Claude Cahun.</li><li>Paris: Librairie José Corti, 1937.</li><li>Quarto.</li><li>60 pages.</li><li>20 photographs printed in relief halftone.</li><li>Inscribed by Claude Cahun in different colored pencils on first page.</li><li>Red cloth-covered boards over green cloth spine, titles in black on upper side, color photographic reproductions on upper and lower.</li></ul> Presentation copy, inscribed by Claude Cahun: 'á Germaine [Hennes] et J. Euzenat / Bien amicalement / Claude'. Deharme and Cahun, who were both active in French surrealist circles, envisioned Le Coeur de Pic as a cohesive artwork. Cahun’s photographs brought inanimate objects to life and encouraged older viewers to see the world through a child’s perspective. ‘Beyond its visual accomplishments, Le Coeur de Pic is also noteworthy as a collaborative project between two women artists. Well into the 1930s, surrealist women were still perceived as muses rather than creators, a realty that complicated collaborative projects between female artists and often resulted in the critical dismissal of their work’ (What They Saw 94).

Le Coeur de Pic Inscribed First Edition

Hans Bellmer

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first edition</a> of La Poupée by <a href="https://www.sothebys.com/en/search?query=Hans%20Bellmer&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Hans Bellmer</a>.<ul><li>Hans Bellmer (German).</li><li>Paris: GLM [Guy Lévis-Mano], 1936.</li><li>44 pages.</li><li>Number 76 of 100 copies with 5 hors commerce, this being one of 80 copies on papier rose.</li><li>10 mounted gelatin silver photographs.</li><li>Text translated by Robert Valençay.</li><li>Pink wrappers, peach printed folding cover with titles on upper side in black, in a custom box by Devauchelle.</li></ul> La Poupée evolved out of a series of events in Hans Bellmer’s personal life: his cousin, Ursula Naguschewski, moving from Kassel to Berlin in 1932; an encounter with renowned dollmaker Lotte Pritzel and his attendance of a performance of Jacques Offenbach’s Tales of Hoffmann, in which the protagonist falls in love with an automaton; and his mother shipping him his old toys. Bellmer constructed several dolls, the first dating from 1933, which he assembled and photographed in strange and disquieting configurations. Ten of these photographs were published in Germany as Die Puppe (1934). It was Bellmer’s cousin Ursula who, while studying at the Sorbonne in 1934, apparently first brought Bellmer’s photographs to the attention of André Breton in Paris. In 1934, the Surrealist journal Minotaure published a portfolio of these images, and in 1936, one was published in an issue of Cahiers d’art devoted to the Surrealist object. Guy Levis Manos published this expanded French Edition with an introduction by Bellmer, translated by Robert Valencay. In February 1938, Bellmer left Berlin for Paris.

La Poupée First Edition

Henri Cartier-Bresson

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first edition</a> of Images a la Sauvette by <a href="https://www.sothebys.com/en/search?query=Henri%20Cartier-Bresson&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Henri Cartier-Bresson</a>.<ul><li>Henri Cartier-Bresson (French).</li><li>Paris: Éditions Verve, 1952.</li><li>Large quarto.</li><li>154 pages.</li><li>Black-and-white photographs printed in gravure by Draeger.</li><li>Text in French, by Cartier-Bresson.</li><li>Design by Tériade and Marguerite Lang.</li><li>Plain endpapers, printed white paper-covered boards illustrated after a design by Matisse in black, blue and green.</li></ul> Images à la Sauvette was conceived by Tériade (pseud. of Elfstratios Eleftheriades), editor of Minotaure and founder of Verve, who made a number of deluxe illustrated books with artists such as Matisse, Miró, and Léger. The photographs in this collection perfectly illustrate Cartier-Bresson’s notion of ‘l’instant décisif’. In his preface Cartier-Bresson writes ‘To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms which give that event its proper expression... if the shutter was released at the decisive moment, you have instinctively fixed a geometric pattern without which the photograph would have been both formless and lifeless.’

Images a la Sauvette: Photographies par Henri Cartier-Bresson First Edition

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first edition</a> of Les Européens by <a href="https://www.sothebys.com/en/search?query=Henri%20Cartier-Bresson&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Henri Cartier-Bresson</a>.<ul><li>Henri Cartier-Bresson (French).</li><li>Paris: Éditions Verve, 1955.</li><li>Large quarto.</li><li>136 pages.</li><li>Black and white photographs printed in gravure by Draeger.</li><li>Text is in French, by Cartier-Bresson.</li><li>Design by Tériade and Marguerite Lang.</li><li>In presentation dust-jacket.</li><li>Bound in printed paper-covered boards illustrated after a design by Joan Miro in yellow, blue, red, and black; in a cream dust-jacket printed in grey.</li></ul> One of a small number of copies issued in a presentation dust-jacket with the printed name of the recipient, this example designated ‘à Monsieur Roger Loubry, européen...’ Roger Loubry was chief pilot, captain, and co-founder of the airline Union Aéromaritime de Transport (UAT). He made the first commercial air link between Paris and New York in 1946 and two years later was pilot for the first non-stop flight between the two cities. Les Européens is identical in format to Cartier-Bresson’s first book, Images à la Sauvette (1952). Both were published by Tériade (pseud. of Elfstratios Eleftheriades), editor of Minotaure and founder of Verve, who made a number of deluxe books with artists such as Matisse, Miró and Léger. The photographs in the present work were taken between 1950-5 and show ordinary people going about life in post-war Europe. In his introduction Cartier-Bresson sums up his role as a photojournalist simply by saying ‘I was there and this is how life appeared to me at that moment.’

Les Européens First Edition

William Shakespeare | Marc Chagall

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first edition</a>, limited folio edition of <a href="https://www.sothebys.com/en/search?query=The%20Tempest&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">The Tempest</a>, signed by <a href="https://www.sothebys.com/en/search?query=Marc+Chagall&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Marc Chagall</a>.<ul><li>Marc Chagall (French-Russian).</li><li>After William Shakespeare (English).</li><li>Monte Carlo:&nbsp;Andre Sauret,&nbsp;1975.</li><li>Folio.&nbsp;</li><li>Fifty lithographs overall, with original tissue guards.</li><li>Limited edition of 250 signed and numbered copies (this is #96), 270 the entire edition.</li><li>Original glassine wrappers; printed on Arches wove paper, in a cream vellum box, stamped in gilt on cover, held in original publisher's cardboard shipping box with label.</li></ul> A wonderful and evocative series of lithographs, produced when Chagall was 88 years old. When Raymond Levy of Editions André Sauret first approached the artist about illustrating Shakespeare's Tempest, Chagall initially hesitated because he was afraid he might not do justice to the text, but then between March and May 1975, he produced fifty drawings on tracing paper, which were transferred onto zinc plates and sent back to Chagall for final retouching.

The Tempest | Signed by Chagall

Edward Ruscha

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Type=Signed%2520and%2520Inscribed" rel="noopener noreferrer" target="_blank">signed</a> <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first edition</a> of <a href="https://www.sothebys.com/en/search?query=Edward%20Ruscha&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Ruscha</a>'s photobook Every Building On The Sunset Strip.<ul><li>Edward Ruscha (American).</li><li>(Los Angeles):&nbsp;Edward Ruscha,&nbsp;1966.</li><li>Signed by Ruscha along bottom edge of slipcase.</li><li>Accordion-fold printed recto only and mounted in printed wrappers, housed in original silver Mylar foil-covered slipcase with intact original plain white paper band.</li></ul> Signed first edition, second issue of this quintessentially Los Angeles book, and one of the great photobooks of all time – with the original wrap-around band intact. "Not only the most physically ambitious of Ruscha's books, but the most flamboyant." — Parr &amp; Badger Ruscha's fourth book captures the Sunset Strip at a particular moment in time. A monumental and continuous accordion-fold scroll that opens to more than 25 feet, Ruscha documents — as the title suggests — the entirety of the Strip, with even numbered addresses running along the top the page and odd facing opposite along the bottom. "The effect is less like the fluid cinematic pan […] than a series of jolting jump cuts […] a ragged progression of gas stations, motels, apartment houses, parking lots, strip-malls, and honky-tonk signage" (Parr 182).

Every Building On The Sunset Strip

Man Ray

<a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">First edition</a> with first issue title-page of <a href="https://www.sothebys.com/en/search?locale=en&amp;query=Man%20Ray&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Man Ray</a>'s Photographs 1920 Paris 1934.<ul><li>Man Ray (American).</li><li>Hartford, Connecticut: James Thrall Soby, 1934.&nbsp;</li><li>Folio.</li><li>Black-and-white photographs printed in gravure by The Néogravure Company.</li><li>Texts in English and French by Man Ray, Paul Eluard, Andre Breton, Tristan Tzara, Rrose Selavy [Marcel Duchamp].</li><li>Color photo-illustrated covers, with a plastic comb binding by Draeger Frères.</li></ul> Man Ray’s first monograph, with the scarce first issue title-page. James Thrall Soby was an important patron of the avant-garde in the United States. Alfred Barr, Director of the Museum of Modern Art, New York, had encouraged Soby to visit Man Ray in Paris, and following their meeting, Soby subsidized the production of this, the first monograph of Man Ray’s work.&nbsp;&nbsp;Man Ray had hoped that royalties from the sale of this book would enable him to make a long-overdue trip back to New York. Photographs... was well received in France, but in the United States, the reception was distinctly less enthusiastic. Lewis Mumford wrote in The New Yorker that Man Ray had ‘done almost everything with a camera, except use it to take photographs... photographing Calla lilies so that they will look like drawings by a second-rate academician.’ Commercially, it was not a success. It is widely suggested that in an attempt to generate sales, the publishers recalled the book and replaced the original title page with one stating ‘deuxième édition’. The favorable reception in France also led to the ‘second edition’ being titled in French with attention drawn to the other contributors: Man Ray. Photographies 1920-1934 Paris avec un portrait par Picasso – textes de André Breton Paul Eluard Rrose Sélavy Tristan Tzara –préface par Man Ray.&nbsp;

Photographs By Man Ray 1920 Paris 1934

<a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">First edition</a>, second issue of <a href="https://www.sothebys.com/en/search?locale=en&amp;query=Man%20Ray&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Man Ray</a>'s extraordinary first monograph — association copy inscribed to friend and muse Joella Bayer, whose portrait appears in the book.<ul><li>Man Ray (American).</li><li>Texts by André Breton, Paul Eluard, Rrose Sélavy, and Tristan Tzara.</li><li>Preface by Man Ray.&nbsp;</li><li>Hartford, Connecticut: James Thrall Soby, (1934).&nbsp;</li><li>Frontispiece portrait of Man Ray by Picasso.</li><li>104 heliogravures.</li><li>Inscribed by Ray to Joella Bayer on the inside of the front cover: "For Joella / Man Ray."&nbsp;</li><li>Additionally signed below by her husband Herbert Bayer, with his thumbprint.&nbsp;</li><li>Text in English and French.&nbsp;</li><li>Original color photographic wrappers with plastic comb binding.</li></ul> "Seized in moments of visual detachment during periods of emotional contact, these images are oxidized residues, fixed by&nbsp;light and chemical&nbsp;elements, of living organisms." — Man Ray Man Ray's photobook of "sensuous, often dreamlike" photographs and rayographs, inscribed to Joella Bayer, daughter of poet and artist Mina Loy and wife of designer and photographer Herbert Bayer (whose signature and thumbprint are also present). Joella Bayer knew Ray most of his life, having been introduced to the artist by her mother in Paris in the 1920s and then growing closer through her first husband, the gallerist Julien Levy, who frequently exhibited Ray. Ray portrayed or photographed Joella Bayer a number of times during his life, most famously in this book, where her solarized portrait appears as plate 47. Arranged in five thematic sections, Photographs includes laudatory essays and poems from Ray's surrealist contemporaries André Breton, Paul Éluard, Rrose Sélavy [Marcel Duchamp], and Tristan Tzara marking the divisions. Stated "Second Edition" (as almost all copies are); in fact it is the second issue of the first edition, mislabeled in an attempt "to generate demand where none existed by suggesting the edition had sold out. After replacing the title pages of these copies with one stating second edition, [the publisher] returned them for sale" (Roth 80).

Photographs

Mary Mills Lyall | Earl Harvey Lyall

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first edition</a>, first printing copy of this <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?Book%20Subject=Childrens" rel="noopener noreferrer" target="_blank">children</a>'s book parody of the landmark 1913 Armory Show, which drew both fanfare and hostility.<ul><li>Mary Mills Lyall (American).</li><li>Illustrated by Earl Harvey Lyall (American).</li><li>New York and London:&nbsp;G. P. Putnam's Sons,&nbsp;1913.</li><li>62 pages.</li><li>Illustrated in color.</li><li>Bound in the original brown cloth boards with color pictorial onlay.</li></ul> The March 1913 Armory Show fundamentally altered the direction of American art. As the New York Historical Society said when celebrating the 100th anniversary of the event: "[I]t changed the way Americans thought about modern art. It has been called the most important exhibition ever held in the United States." Organized by the Association of American Painters and Sculptors, the show introduced American audiences to Cubist, Surrealist, and Fauvist art, and helped establish artists like Picasso and Matisse as household names. But this change was not a uniformly welcome one: "Is their work a conspicuous milestone in the progress of art? Or is it junk?" pondered The New York Times review of the show. "[M]any of [Matisse's] paintings are simply the exaltation to the walls of a gallery of the drawings of a nasty boy," artist and critic Kenyon Cox remarked in the same review. Mary Mills and Earl Harvey Lyall were quick to respond with The Cubies' ABC. It was published the same year as the watershed exhibition, while critics continued to debate the assemblage of Modern Art featured therein. Earl, an architect and government architectural advisor, was well-placed to execute the pastiches of the Armory Show's most significant works. Dotted throughout this abecedary are clever nods to Matisse's "Blue Nude," Wilhelm Lehmbruck's "The Kneeling One," Picasso's "Woman with Mustard Pot," and more. The angular bodies of the Cubies themselves recall isolated shapes within Duchamp's iconic "Nude Descending a Staircase," the piece that became most identified with many viewers' fury at the show.

The Cubies' ABC

Jean-Michel Basquiat

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Special%20Feature=Signed" rel="noopener noreferrer" target="_blank">signed</a> <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition" rel="noopener noreferrer" target="_blank">first edition</a> of a <a href="https://www.sothebys.com/en/search?query=Jean-Michel%20Basquiat&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Jean-Michel Basquiat</a> exhibition catalog, from the exhibition at the Gallery Bruno Bischofberger in Zurich from January 19th to February 16th, 1985.<ul><li>Jean Michel Basquiat (American).</li><li>Zurich: Bischofberger Editions, 1985.</li><li>12 full-page color plates (one folding) and a photographic portrait of Basquiat by Jeannette Montgomery.</li><li>Number 173 of an edition of 1000 hand-signed and numbered by Basquiat.</li><li>Hardcover.</li></ul> “Jean-Michel, contrary to what you might think, absolutely did not consider himself a ‘Graffiti Artist.’ He had always seen himself as a Fine Artist, and his influences ranged from Leonardo Da Vinci to Abstract Expressionists like Cy Twombly and Franz Kline” (John Seed). In January 1985, Basquiat enjoyed his first one-artist show, at the Bischofberger Gallery in Zurich. This is the commemorative book of 12 paintings from that show." Jean-Michel Basquiat was an influential African-American artist who rose to success during the 1980s. Basquiat’s paintings are largely responsible for elevating graffiti artists into the realm of the New York gallery scene. His spray-painted crowns and scribbled words referenced everything from his Haitian and Puerto Rican heritage, to political issues, pop-culture icons, and Biblical verse. The gestural marks and expressive nature of his work not only aligned him with the street art of Keith Haring and Kenny Scharf, but also the Neo-Expressionists Julian Schnabel and David Salle. “If you wanna talk about influence, man, then you've got to realize that influence is not influence,” he said of his process. “It's simply someone's idea going through my new mind.” Born on December 22, 1960 in Brooklyn, NY, Basquiat never finished high school but developed an appreciation for art as a youth, from his many visits to the Brooklyn Museum of Art with his mother. His early work consisted of spray painting buildings and trains in downtown New York alongside his friend Al Diaz. The artist’s tag was the now infamous pseudonym SAMO. After quickly rising to fame in the early 1980s, Basquiat was befriended by many celebrities and artists, including Andy Warhol, with whom he made several collaborative works. At only 27, his troubles with fame and drug addiction led to his tragic death from a heroin overdose on August 12, 1988 in New York, NY. The Whitney Museum of American Art held the artist’s first retrospective from October 1992 to February 1993. In 2017, after having set Basquiat’s auction record the previous year with a $57.3 million purchase, the Japanese billionaire Yusaku Maezawa surpassed it, buying the artist’s Untitled (1982) at Sotheby's for $110.5 million. This set a new record for the highest price ever paid at auction for an American artist's work. Today, Basquiat's works are held in the collections of The Museum of Modern Art in New York, the Rubell Family Collection in Miami, and the Museum of Contemporary Art in Los Angeles, among others.

Signed Jean-Michel Basquiat Exhibition Catalog

John Lennon

A United Kingdom 1964 first edition hardback copy of John Lennon’s book In His Own Write, that has been autographed on the first inside page by John Lennon.<ul><li>John Lennon (English).</li><li>London: Jonathan Cape, 1964.</li><li>Signed in blue ballpoint pen.</li><li>John has added the inscription "To Joanna love" above his name.</li><li>The letters "'s Pa" have been added in an unknown hand.</li></ul>

John Lennon In His Own Write, Autographed First Edition

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

Nobuyoshi Araki

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

Peter Henry Emerson | Thomas Frederick Goodall

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 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

Wilhelm Bode | Cornelis Hofstede De Groot

Finely bound first-edition set of Bode and de Groot's Complete Works of Rembrandt from the Rothschild library.Sold as a set of 8.<ul><li>Wilhelm Bode (German).</li><li>Cornelis Hofstede De Groot (Dutch).</li><li>The Complete Work of&nbsp;Rembrandt. History, Description and Heliographic Reproduction of All the Master's Pictures With a Study of His Life and His Art.</li><li>Paris: Charles Sedelmeyer, 1897–1906.</li><li>Large folio.</li><li>Illustrated with over 600 heliogravure plates.</li><li>Limited to 500 numbered copies on Holland paper, this being copy #174.</li><li>Bound in full red morocco by Leightons, Brewer Street, ribbed gilt decorated spines, cover ruled and paneled in gilt, gilt corner pieces, gilt dentelles, top edges gilt, others uncut.</li></ul>

The Complete Work of Rembrandt

William Shakespeare | John Boydell

First American edition of the Boydell collection of the Illustrations of the Dramatic Works of Shakespeare.<ul><li>Sold as a set of 2.</li><li>William Shakespeare (English).</li><li>Edited by John Boydell (English).</li><li>New York:&nbsp;Shearjashub Spooner,&nbsp;1852.&nbsp;</li><li>205 pages; 200 pages.</li><li>Folio.</li><li>51 illustrated plates; 49 illustrated plates.</li><li>Three-quarter bound in red morocco and red buckram with gilt ruling and lettering to spine and gilt ruling to boards.</li></ul> Boydell was a British publisher and engraver who decided to undertake the massive project of creating an illustrated folio edition of Shakespeare’s works that took nearly twenty years to complete, and the first edition was published in 1805. It incorporates engravings based on the works of dozens of prominent artists, including George Romney, Henry Fuseli, Benjamin West and Angelica Kauffman.

Illustrations of the Dramatic Works of Shakespeare

Stanley B. Burns | Elizabeth Burns

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

First English edition of The Europeans inscribed by Eli Wallach, the companion volume to Cartier-Bresson's seminal text, The Decisive Moment.<ul><li>Henri Cartier-Bresson (French).</li><li>New York:&nbsp;Simon and Schuster,&nbsp;1955.</li><li>Printed in France by Draeger.&nbsp;</li><li>114 pages [xvi].</li><li>Quarto.</li><li>Includes numerous black and white photographs.</li><li>Inscribed on front free endpaper "To "Gadge"…" from Eli Wallach.</li><li>In pictorial boards by Joan Miró, in partial scarce original acetate jacket with attached printed paper flaps, and captions booklet laid in.</li></ul> This copy of Henri Cartier-Bresson's The Europeans bears the unique provenance of being gifted from director and actor Eli Wallach to director Elia Kazan. Wallach, known for his role as Silva Vacarro in Kazan's screen adaptation of Tennessee Williams' Baby Doll which premiered the same year that he inscribed this book, and for co-starring with Clint Eastwood in The Good, The Bad, and The Ugly was also a founding member of the Actors Studio. In his inscription to Kazan, he says, "To 'Gadge' From one picture-maker to another. All my love. —Eli".

The Europeans

Howard Pyle

Signed first edition with seven Merle Johnson watercolors of piratical scenes.<ul><li>Howard Pyle (American).</li><li>Compiled by Merle Johnson.</li><li>New York:&nbsp;Harper &amp; Brothers,&nbsp;1921.</li><li>xvii, [1], 247 pp.</li><li>Quarto.</li><li>Illustrated with 36 full-page plates, 12 in color, on glossy paper, and numerous illustrations in black and white throughout the text.</li><li>Extra-illustrated on the end sheets with 7 watercolor drawings (5 full-page) by Merle Johnson, signed “Merle Johnson” or "M.J.".</li><li>Number 21 of 50 copies printed on Japan vellum stock and signed by Merle Johnson on the limitation page.&nbsp;</li><li>Bound in publisher's cloth spine and boards with a color plate affixed to front cover.</li><li>Housed in a custom cloth slipcase with a red morocco label.</li></ul> The deluxe edition on Japan vellum of this collection of pirate tales and illustrations by Howard Pyle, compiled by Merle Johnson. This copy marvelously extra-illustrated by Merle Johnson with 7 full- and double-page watercolor illustrations of pirates. These are not the grim, hardened pirates of Pyle's illustrations — Johnson's pirates are drawn in a humorous, cartoon style that blends the historical and the modern. In one double-page spread a flapper in evening dress guides a pirate towards the end of a plank by the barrel of a gun. Another double-page spread at the rear of the book shows a pirate burying his chest of treasure as a film crew shoots in the background.

Howard Pyle's Book of Pirates: Fiction, Fact & Fancy Concerning the Buccaneers & Marooners of the Spanish Main

Yeats, Jack B.

Nearly complete set of A Broadside.<ul><li>Illustrations after drawings by Jack B. Yeats.</li><li>Churchtown &amp; Dublin:&nbsp;Dun Emer and Cuala Press,&nbsp;1908-1915.</li><li>Printed on cartridge paper made at Saggart Mill in County Dublin, text in handset Caslon type.</li><li>One of 300 copies.&nbsp;</li><li>The set lacks one issue, No. 10, Second Year, March 1910.</li><li>The second and third series date from 1935-1937.</li><li>Cloth portfolio, upper cover with pictorial label after a design by Jack B. Yeats, recent black morocco spine, to house the entire series.</li><li>In half blue morocco slipcase.</li></ul> The beautiful periodical of verse and images produced by the Cuala Press, each number with three illustrations by Jack B. Yeats, who also contributed many of the poems under pseudonyms R.E. McGowan and W.T. MacGowan. Extensive runs are uncommon.

A Broadside

Georges Rouault | Ambroise Vollard

First edition of Vollard's satirical text with numerous illustrations, one of only 355 total copies.<ul><li>Engravings by Georges Rouault (French).</li><li>Ambroise Vollard (French).</li><li>Paris:&nbsp;Ambroise Vollard 28, rue de Martigny,&nbsp;1932.</li><li>Folio.</li><li>Number 231 of 250 (of 355 total) copies on verge d'auvergne de la Manufacture Royale de Vidalon.&nbsp;</li><li>22 etchings and 104 wood engravings by Rouault.</li><li>In blue cloth drop box, hinge off, with pictorial wrappers.</li></ul> Vollard's continuation of Jarry's satirical Père Ubu character, illustrated with etchings and woodcuts by Rouault, made with his unorthodox technique. "It has been shown that his original gouache sketches were transferred by photography to the copper-plate, which the artist then worked over with etching, aquatint and drypoint to attain the dark and heavy texture" —The Artist and the Book.

Réincarnations du Père Ubu

Inscribed first edition, second issue of the definitive contemporary collection of Man Ray’s photographs.<ul><li>Man Ray, [pseud. of Emmanuel Radnitzky].</li><li>Includes a portrait of the artist by Picasso.</li><li>Texts by Andre Breton, Paul Eluard, Rrose Sélavy [Marcel Duchamp], Tristan Tzara.</li><li>First edition, second issue with cancel title with fictitious "Deuxième édition" designation.&nbsp;</li><li>101 gravure plates after photographs by Man Ray.</li><li>Hartford, Connecticut; Paris; New York:&nbsp;James Thrall Soby; Cahiers d’Art; Random House,&nbsp;[1934].</li><li>1 vols.</li><li>4to.</li><li>Original spiral-bound photographically illustrated wrappers.</li><li>Gift inscription on verso of front wrapper beneath Man Ray inscription.</li><li>In a custom half black morocco-backed slipcase and chemise.</li></ul> With 101 gravure reproductions of photographs and "rayographs" and essays by his contemporaries, leading figures of the Dada and Surrealist movements of Paris and New York, including Breton, Eluard, Duchamp (written in German under the pseudonym "Rrose Sélavy") and Tristan Tzara. With large inscription on the verso of the front wrapper, "Man Ray / Paris — Jan 1959."&nbsp; A work almost always encountered in its second issue with the fictitious statement "Deuxième édition" on the title, an attempt "to generate demand where none existed by suggesting the edition had sold out...Copies with the original title page are exceedingly rare." (Roth) Beneath Man Ray's inscription is a gift inscription to Judy and Julius Rosenwald II. "Dooley," as he was known, was the son of the celebrated collector Lessing Rosenwald and the grandson of Julius Rosenwald, part owner of Sears Roebuck.

Man Ray Photographies 1920-1934 Paris, Signed First Edition

John Thomson

First edition of Street Life in London: With Permanent Photographic Illustrations Taken from Life Expressly for this Publication, a pioneering use of photography for sociological study.<ul><li>John Thomson (Scottish) photographer.</li><li>Adolphe Smith (British) author.</li><li>Complete with 37 Woodburytype photographs mounted to 36 leaves.</li><li>London:&nbsp;Sampson Low, Marston, Searle, &amp; Rivington,&nbsp;[1877-88].</li><li>[4], 100 pp. 1 vols.</li><li>4to.</li><li>Half blue calf and marbled boards, spine gilt, morocco label.</li></ul> The Scotsman Thomson (1837-1921) spent the decade 1862-1872 traveling in and producing some of the finest early photographic images of the Far East. After resettling in Britain, he joined forces with Adolphe Smith to produce this "important monthly publication ... which pioneered the genre of photojournalism, combining hard-hitting, albeit posed, street photography, with documentary-style prose." (ODNB) It was originally published in monthly parts. A second, much abridged issue (with only 21 photos) appeared three years later, bound from incomplete remainder sheets. Subjects include a convicts' home, "Caney" the Clown, Covent Garden flower women, flying dustmen, London cabmen, London nomads, street doctors, seller of shell-fish, street fruit trade and workers on the "silent highway," etc.

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Beatrix Potter

Andy Warhol, Julia Warhola

Andy Warhol

Johann Wolfgang von Goethe, Henry Moore

Daido Moriyama

Robert Venturi, Muriel Cooper, Denise Scott Brown, Steven Izenour

John Gossage

Robert Frank

Robert Frank

Alvin Langdon Coburn

Claude Cahun

Hans Bellmer

Henri Cartier-Bresson

Henri Cartier-Bresson

William Shakespeare, Marc Chagall

Edward Ruscha

Man Ray

Man Ray

Mary Mills Lyall, Earl Harvey Lyall

Jean-Michel Basquiat

John Lennon

Robert Frank

Nobuyoshi Araki

Peter Henry Emerson, Thomas Frederick Goodall

Wilhelm Bode, Cornelis Hofstede De Groot

William Shakespeare, John Boydell

Stanley B. Burns, Elizabeth Burns

Henri Cartier-Bresson

Howard Pyle

Yeats, Jack B.

Georges Rouault, Ambroise Vollard

Man Ray

John Thomson