Photography Books

Harry Callahan

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

Limited Art Edition (No. 101–200), with the gelatin silver print&nbsp;Untitled&nbsp;(Sardegna, 1980), numbered and&nbsp;<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>&nbsp;by&nbsp;<a href="https://www.sothebys.com/en/search?query=Ralph%20Gibson&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Ralph Gibson</a>.<ul><li>Sold as a set of 2: 1 book and 1 print.</li><li>Ralph Gibson (American).</li><li>Cologne: TASCHEN.</li><li>552 pages.</li><li>Hardcover.</li><li>Part of an edition of 100.</li><li>Gelatin silver print in portfolio.</li><li>Multilingual edition (English, French, German).</li><li>Print is presented in portfolio, book is presented in box.</li></ul> Traveling widely,&nbsp;Ralph Gibson&nbsp;works primarily in inspired series, associated image reveries in both monochrome and color, whose titles—The Somnambulist,&nbsp;Déjà-Vu,&nbsp;Days at Sea, and&nbsp;Chiaroscuro—underline the particular&nbsp;poetic sensibility&nbsp;that informs his work. Starting out in 1960 with&nbsp;Dorothea Lange, he made his way to New York in 1967 and was soon considered in the same light as the likes of Larry Clark and Diane Arbus. The photographs and series can of course speak for themselves. But for Gibson there is a&nbsp;philosophy at play behind the image, and in the included short texts he proposes his thesis.&nbsp;Nudes, portraits, still lives, narratives—loyal to his Leica, Gibson ranges between genres and creates new categories of vision. He gets closer to things and meditates on them in a way that only the silence of the image can attempt.Produced in close collaboration with the artist, this book offers the fruit of more than six decades of image-making. From Gibson’s first photographs in San Francisco, Hollywood, and New York in the 1960s right up to the present day, this is&nbsp;the most comprehensive collection of this highly acclaimed photographer. Ralph Gibson&nbsp;began taking pictures while in the U.S. Navy in the 1950s, and later assisted Dorothea Lange and Robert Frank before establishing his own studio in New York. The recipient of NEA and Guggenheim grants, Gibson was made a Commandeur de l’Ordre des Arts et des Lettres by the French government in 2002.

Ralph Gibson: Photographs 1960–2024 | Art Edition No. 101–200, Untitled, Sardegna 1980

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

Limited Art Edition (No. 1–100), with the gelatin silver print Untitled (Elba, 1980), numbered 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> by <a href="https://www.sothebys.com/en/search?query=Ralph%20Gibson&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Ralph Gibson</a>.<ul><li>Sold as a set of 2: 1 book and 1 print.</li><li>Ralph Gibson (American).</li><li>Cologne: TASCHEN.</li><li>552 pages.</li><li>Hardcover.</li><li>Part of an edition of 100.</li><li>Gelatin silver print in portfolio.</li><li>Multilingual edition (English, French, German).</li><li>Print is presented in portfolio, book is presented in box.</li></ul> Traveling widely,&nbsp;Ralph Gibson&nbsp;works primarily in inspired series, associated image reveries in both monochrome and color, whose titles—The Somnambulist,&nbsp;Déjà-Vu,&nbsp;Days at Sea, and&nbsp;Chiaroscuro—underline the particular&nbsp;poetic sensibility&nbsp;that informs his work. Starting out in 1960 with&nbsp;Dorothea Lange, he made his way to New York in 1967 and was soon considered in the same light as the likes of Larry Clark and Diane Arbus. The photographs and series can of course speak for themselves. But for Gibson there is a&nbsp;philosophy at play behind the image, and in the included short texts he proposes his thesis.&nbsp;Nudes, portraits, still lives, narratives—loyal to his Leica, Gibson ranges between genres and creates new categories of vision. He gets closer to things and meditates on them in a way that only the silence of the image can attempt.Produced in close collaboration with the artist, this book offers the fruit of more than six decades of image-making. From Gibson’s first photographs in San Francisco, Hollywood, and New York in the 1960s right up to the present day, this is&nbsp;the most comprehensive collection of this highly acclaimed photographer. Ralph Gibson&nbsp;began taking pictures while in the U.S. Navy in the 1950s, and later assisted Dorothea Lange and Robert Frank before establishing his own studio in New York. The recipient of NEA and Guggenheim grants, Gibson was made a Commandeur de l’Ordre des Arts et des Lettres by the French government in 2002.

Ralph Gibson: Photographs 1960–2024 | Art Edition No. 1–100, Untitled, Elba, 1980

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>, first printing of these black and white photographs of selected records and album covers from Ruscha's collection, photographed by his friend and fellow artist Jerry McMillan.<ul><li>Ed Ruscha (American).</li><li>Photographs by Jerry McMillan (American).</li><li>(Hollywood, CA): (Heavy Industry Publications), 1971.</li><li>60 black and white plates. </li><li>Edition of 2000 copies.&nbsp;</li><li>Signed by Ruscha on front free endpaper.&nbsp;</li><li>Original red embossed paper wrappers.</li></ul> Like Ruscha's previous books, Records is concerned with words and texts, though the presentation of words "on" images here is distinct from Ruscha's previous documentation of words "in" images (Phillpot): shown against a blank white background, the printed texts on these album covers and records exist on circles and squares, objects alone without a landscape.

Records | Signed First Edition

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 <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

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 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>, first printing of <a href="https://www.sothebys.com/en/search?query=Ruscha&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Ruscha</a> and Weiner's photo-novel, starring Shelley Chamberlain, Suzanne Chandler, and Susan Haller in an oblique visual drama.<ul><li>Edward Ruscha (American).</li><li>Lawrence Weiner (American).</li><li>(Los Angeles): [Heavy Industries Publications], (1978).</li><li>120 pages.</li><li>65 photographic illustrations by Ruscha, Weiner, and Susan Haller.&nbsp;</li><li>Signed by Ruscha in pen on front free endpaper.&nbsp;</li><li>Original glossy color wrappers.</li></ul> "Ruscha's books are meant to be read, but since the art world doesn't know how to read he might as well amuse himself." — Eleanor Antin The last of Ruscha's artist's books and one of only a few to admit a plausibly narrative reading, Hard Light is also Ruscha's broadest collaboration: with Lawrence Weiner, credited as co-author, but also with Chamberlain, Chandler, and Haller, who, like actors in motion pictures, cannot help but interpret the direction given to them, and who drink coffee, wear jeans, and drive cars like the stars they are. (Haller is also noted as a third photographer by Engberg and Phillpot, though not in the book's sparse credits.) Buquet strains to see a "barely veiled reference to feminist demands" and potential "derisive" dialogue with Lynda Benglis, while Ruscha himself, interviewed while in the process of making the book, said only "We went out and got a few girls and shot some pictures."

Hard Light

Ed Ruscha

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&nbsp;<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>&nbsp;'Art Edition' of&nbsp;<a href="https://www.sothebys.com/en/search?query=David%20Bailey&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">David Bailey</a>'s&nbsp;Eighties,&nbsp;with a signed print of Jerry Hall and Jacques Henri Lartigue.<ul><li>Sold as a set of 1 book and 1 print.</li><li>David Bailey (English).</li><li>Cologne: Taschen.</li><li>292 pages.</li><li>Part of an edition of 100: Art Edition No. 101–200, ‘Jerry Hall and Jacques Henri Lartigue’, 1983.</li><li>Print is an inkjet print on Hahnemuhle pearl paper.</li><li>Book is housed in a clamshell box.</li></ul> Padded shoulders, big hair, and bold colors: Go back in time to the decade of decadence with Great Britain’s most renowned fashion and portrait photographer, David Bailey. Featuring dozens of assignments from the pages of Vogue and Tatler and icons such as Jerry Hall, Tina Turner, and Yves Saint Laurent. In the 1980s, fashion wanted to make a statement and found in legendary British fashion photographer David Bailey its perfect chronicler. After Bailey shaped the style of the Swinging Sixties, fashion in the eighties posed a new challenge: brighter colors, higher glamour, statuesque models, extreme makeup, spandex, lycra, jumpsuits, power dressing, big hair, and as Grace Coddington puts it in her introduction, “jackets with padded shoulders over the shortest mini-skirts and dangerously high-heeled shoes.” Eighties&nbsp;compiles Bailey’s era-defining fashion photography from the pages of&nbsp;Vogue Italia,&nbsp;Vogue Paris,&nbsp;Tatler,&nbsp;and countless others. Featuring couture, catwalk, and ready-to-wear collections by the epoch’s seminal designers, including Azzedine Alaïa, Comme des Garçons, Guy Laroche, Missoni, Stephen Jones, Valentino, and Yves Saint Laurent, the book stands as a testament to a decade that dismantled hierarchies of taste to reintroduce fun and sex into fashion, reminding us that we need not think of either as dirty words. Here, the jewellery sparkles, the silks shimmer, and the suits sprawl. The most beautiful are captured at their most playful, invincible, and provocatively sexy. We see fabled 1980s icons and beauties: Catherine Bailey, Naomi Campbell, Cindy Crawford, Catherine Deneuve, Princess Diana, Jerry Hall, Marie Helvin, Grace Jones, Kelly LeBrock, Christy Turlington, Tina Turner, and many more. The cultural resonances of the 1980s present on our screens, runways, and concert stages make today ideal for recontextualizing its enduring legacy of maximalism and excess.&nbsp;Eighties&nbsp;offers a unique opportunity to do so with David Bailey as a guide, and interpreter, who’s never afraid to wink at his audience. As Bailey says in his foreword, “The eighties turned out to be magic.” Here, that magic comes alive. London-born David Bailey (b. 1938) is widely acknowledged as one of the founding fathers of contemporary photography, having shot some of the most iconic portraits of the last six decades. Bailey’s early work helped both define and capture 1960s London, when he made stars of a new generation of models, including Jean Shrimpton and Penelope Tree. Bailey channeled the energy of London’s informal street culture to create a new style of casual coolness. Drawing inspiration from Modernism, he injected movement and immediacy into his work by using a very direct, cropped perspective. Bailey’s interests extend to commercials, film, painting, and sculpture.

Eighties: Art Edition No. 101–200 with Jerry Hall and Jacques Henri Lartigue Signed Print

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> 'Art Edition' of <a href="https://www.sothebys.com/en/search?query=David%20Bailey&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">David Bailey</a>'s Eighties, with a signed print of Yves Saint Laurent.<ul><li>Sold as a set of 1 book and 1 print.</li><li>David Bailey (English).</li><li>Cologne: Taschen.</li><li>292 pages.</li><li>Part of an edition of 100: Art Edition No. 1–100, ‘Yves Saint Laurent’, 1981.</li><li>Print is an inkjet print on Hahnemuhle pearl paper.</li><li>Book is housed in a clamshell box.</li></ul> Padded shoulders, big hair, and bold colors: Go back in time to the decade of decadence with Great Britain’s most renowned fashion and portrait photographer, David Bailey. Featuring dozens of assignments from the pages of Vogue and Tatler and icons such as Jerry Hall, Tina Turner, and Yves Saint Laurent. In the 1980s, fashion wanted to make a statement and found in legendary British fashion photographer David Bailey its perfect chronicler. After Bailey shaped the style of the Swinging Sixties, fashion in the eighties posed a new challenge: brighter colors, higher glamour, statuesque models, extreme makeup, spandex, lycra, jumpsuits, power dressing, big hair, and as Grace Coddington puts it in her introduction, “jackets with padded shoulders over the shortest mini-skirts and dangerously high-heeled shoes.” Eighties compiles Bailey’s era-defining fashion photography from the pages of Vogue Italia, Vogue Paris, Tatler, and countless others. Featuring couture, catwalk, and ready-to-wear collections by the epoch’s seminal designers, including Azzedine Alaïa, Comme des Garçons, Guy Laroche, Missoni, Stephen Jones, Valentino, and Yves Saint Laurent, the book stands as a testament to a decade that dismantled hierarchies of taste to reintroduce fun and sex into fashion, reminding us that we need not think of either as dirty words. Here, the jewellery sparkles, the silks shimmer, and the suits sprawl. The most beautiful are captured at their most playful, invincible, and provocatively sexy. We see fabled 1980s icons and beauties: Catherine Bailey, Naomi Campbell, Cindy Crawford, Catherine Deneuve, Princess Diana, Jerry Hall, Marie Helvin, Grace Jones, Kelly LeBrock, Christy Turlington, Tina Turner, and many more. The cultural resonances of the 1980s present on our screens, runways, and concert stages make today ideal for recontextualizing its enduring legacy of maximalism and excess. Eighties offers a unique opportunity to do so with David Bailey as a guide, and interpreter, who’s never afraid to wink at his audience. As Bailey says in his foreword, “The eighties turned out to be magic.” Here, that magic comes alive. London-born David Bailey (b. 1938) is widely acknowledged as one of the founding fathers of contemporary photography, having shot some of the most iconic portraits of the last six decades. Bailey’s early work helped both define and capture 1960s London, when he made stars of a new generation of models, including Jean Shrimpton and Penelope Tree. Bailey channeled the energy of London’s informal street culture to create a new style of casual coolness. Drawing inspiration from Modernism, he injected movement and immediacy into his work by using a very direct, cropped perspective. Bailey’s interests extend to commercials, film, painting, and sculpture.

Eighties: Art Edition No. 1–100 with  Yves Saint Laurent Signed Print

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

An <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/art-&amp;-design?locale=en" rel="noopener noreferrer" target="_blank">Art Edition</a> (No. 1–100) of The National Gallery, with the numbered and signed print The Caged Bird’s Song (Voyeur), 2024, by Chris Ofili.<ul><li>Sold as a set of 1 book and 1 print.</li><li>Annetta Berry.</li><li>Christine Riding.</li><li>Anh Nguyen.</li><li>Rebecca Marks.</li><li>The National Gallery: Paintings, People, Portraits.</li><li>Cologne: TASCHEN, 2024.</li><li>Hardcover.</li><li>582 pages.</li><li>Part of an edition of 100.</li><li>Numbered, with organza cover, in clamshell box.</li><li>Art print: Giclée on 340 gsm Hahnemühle Rag Metallic paper with deckled edges.</li><li>Print is numbered and signed by the artist.</li></ul> A bicentennial celebration of the National Gallery's picture collection. Since it was&nbsp;established in 1824, the&nbsp;National Gallery&nbsp;has become a&nbsp;beacon for London's visitors and residents alike. From its inception in John Julius Angerstein's home in Mayfair to its current home in Trafalgar Square, it&nbsp;has expanded both its collection and its footprint to become one of the world's leading galleries. This book features photography by&nbsp;David Dawson,&nbsp;Massimo Listri, and Mary McCartney. It brings together over 200 of the Gallery's paintings, which were made between the 13th and 20th centuries, including&nbsp;memorable masterpieces from both the famous and the forgotten. These pages&nbsp;tell the history of painting in the Western European tradition&nbsp;through the&nbsp;National Gallery's collection. You’ll go on a visual journey through the centuries, with works by&nbsp;Duccio, Van Eyck, Raphael, Titian,&nbsp;Rembrandt, Vigée Le Brun, Gainsborough, Morisot, and Matisse, to name just a few. Punctuating this story are contributions by and photographic portraits of 25 cultural figures, such as&nbsp;Frank Auerbach, Alvaro Barrington, Edward Enninful,&nbsp;David Hockney, Kim Jones, Damian Lewis, Sahara Longe, Chris Ofili,&nbsp;Ai Weiwei, Rachel Whiteread, Annabelle Selldorf, and Flora Yukhnovich, among others. This Art Edition by Chris Ofili&nbsp;comprises&nbsp;100 copies with the numbered (No. 1–100) and signed print&nbsp;The Caged Bird’s Song (Voyeur), 2024.&nbsp;Chris Ofili’s atmospheric and enigmatic paintings investigate the intersection of desire, identity, and representation. Portraying characters from a range of aesthetic and cultural sources through a kaleidoscopic visual mode that bridges abstraction and figuration, his works serve as sites for journeys of creative transformation. He won the Turner Prize in 1998 and over the past two decades has exhibited in many international institutions. In 2003 he was selected to represent Britain at the 50th Venice Biennale, where he presented his ambitious exhibition, "Within Reach". In 2010 Tate Britain presented an extensive survey of his work and in 2014, "Night and Day", held at the New Museum, New York, featured more than thirty of Ofili’s major paintings, in addition to drawings and a selection of sculptures from across his career.

National Gallery: Art Edition No. 1–100 with The Caged Bird’s Song (Voyeur) Signed Print

A hand-<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> 1986 <a href="https://www.sothebys.com/en/search?locale=en&amp;Book%20Type=Signed%2520and%2520Inscribed&amp;query=Basquiat&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Basquiat</a> catalog published on the occasion of Jean-Michel Basquiat Kestner-Gesellschaft Hannover: 28th of November, 1986, to the 25th January, 1987.<ul><li>After Jean Michel Basquiat.</li><li>Hanover: Kestner-Gesellschaft, 1986.</li><li>Approximately 100 pages.</li><li>Featuring 60 works by a then 25 year old Basquiat, Kestner is widely remembered as Basquiat’s last major exhibition during his lifetime. -</li><li>Signed and inscribed to ‘Hans’ on the interior title page.</li><li>With full-page images of over 30 Basquiat paintings, in addition to several in collaboration with Andy Warhol.</li><li>Text in German.</li><li>Bound in stiff wraps.</li></ul> 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.

Kestner-Gesellschaft Exhibition Catalog Signed by Basquiat

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, Signed

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Subject=Sets" rel="noopener noreferrer" target="_blank">collection</a> of <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?Book%20Type=Signed%2520and%2520Inscribed" rel="noopener noreferrer" target="_blank">signed</a> volumes of The Journal of Contemporary <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Subject=Photographs&amp;Book%20Subject=Photography" rel="noopener noreferrer" target="_blank">Photography</a>.<ul><li>Sold as a set of 6 volumes.</li><li>Museum Editions, 21st Editions, 1998 - 2003.</li><li>The Signed Deluxe Limited Editions contain original hand-pulled photogravures and color ptanographs (waterless lithographs) that illuminate the essays and commentaries found in each book.</li><li>They are fully signed on the limitation page by the artists included in each volume.</li><li>Bound in Morocco, Japanese silks and Italian fabrics, cased in a matching portfolio box. </li></ul> More information about each volume is below. Volume 1: <ul><li>Number 193 of 235. </li><li>Focuses on the "transcendent vision" of 15 major contemporary photographers, illustrated here in richly printed hand-pulled photogravure. </li><li>Volume I also contains a woodcut by the late Leonard Baskin. Writers include Pulitzer Prize winning poet Richard Wilbur; prize-winning novelists Ann Beattie and Robert Olen Butler; poet and critic Dana Gioia; Harvard professors and award winning historians John Stilgoe and John Stauffer; and Wales’ great poet, the late R. S. Thomas, among many others.</li><li>Signed by: Bernard Faucon, Michael Kenna, Holly Wright, Luis Gonzales Palma, Keith Carter, Duane Michaels, Steven Albahari, Mark Klett, Sandy Skoglund, Jock Sturgis, Ernestine Ruben, Willie Middlebrook, John Metoyer, Olivia Parker, Leonard Baskin, and Patrick Bailey-Maitre-Grand.</li></ul>&nbsp;Volume 2<ul><li>Number 187 of 200. Extends the metaphysical themes of the first volume and brings together the work of 13 modern masters of the photographic arts. It contains original essays by France's leading novelist Michel Tournier; philosopher Frederick Turner; award-winning photographic historian Lee Fontanella; novelist and playwright Elizabeth Dewberry; novelist Josh Russell; and photographic historian and 21ST contributing editor Lance Speer.</li><li>Signed by: Adam Fuss, Jaume Blassi, Bill Jacobson, Joyce Tenneson, Kenro Izu, Vik Muniz, Cy DeCosse, John Dugdale, Tom Baril, Joan Fonteuberta, Arthur Tress, Robert Parke Harrison, and Sheila Metzner.</li></ul>&nbsp;Volume 3:<ul><li>Number 82 of 100. Entitled The Clandestine Mind, is devoted entirely to the lyrical work of John Dugdale. This master photographer's elegant male nudes and still lifes, printed in rich blue inks to match the original tones of his cyanotypes, are complemented by a short prayer for Dugdale by Pulitzer Prize winner Robert Olen Butler; a poem by prize-winning poet Morri Creech; and an essay by John Wood, the editor of 21ST.</li><li>Signed by: John Dugdale and features - Annunciation, Christ Out Liberator, The Clandestine Mind, I Could Not See To See, Longing, Mourning Tulips, Wonder Stings Me More Than Bee, and Three White Peaches.</li></ul>&nbsp;Volume 4:<ul><li>Number 82 of 100. Entitled The Gardens of DeCosse, focuses exclusively on the beautiful works of Cy DeCosse. Literary contributors include fiction writer Scott Ely; gallery director John Stevenson; poet Susan Ludvigson; musician and scholar Carol Wood; and editor John Wood.</li><li>Signed by Cy Decosse and features the following: King of the Night, Sunflower, Fritillaria, Cultered Pearl, Squash, Flowers &amp; Dill, Water Lilly, Tuscan Lemons, and Queen of the Night.</li></ul>&nbsp;Volume 5:<ul><li>Number 39 of 125. </li><li>Aptly named Strange Genius, is an insightful examination of the ways in which artists today make conscious attempts to create work that can often be unsettling, difficult, even horrific. </li><li>Writers include poets Raul Peschiera, Susan Ludvigson, Gerard Malanga, and Paul Zimmer; novelists Ann Beattie and Neil Connelly; and essayists Paul LaRosa, Lance Speer, and John Wood.</li><li>Signed by: Sally Mann, Michal Macku, Connie Imboden, Vincent Serbin, Sheila Metzner, Andrea Modica, Josephine Sacabo, John Metoyer, David Levinthal, Stephen Berkman, Kelly Grider, Keith Carter, Christopher Pekoe, and Don Gregorio Anton.</li></ul>&nbsp;Volume 6:<ul><li>An international survey titled Flesh and Spirit.</li><li>Combines the images of some of the finest contemporary Belgian, Brazilian, Chinese, English, French, Greek, Mexican, Spanish, and American photographers.</li></ul>

The Journal of Contemporary Photography Collection

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?Book%20Type=Signed%2520and%2520Inscribed" rel="noopener noreferrer" target="_blank">signed</a> deluxe limited edition of The Everywhere Chronicles.<ul><li>Sold as a set of 2 volumes.</li><li>Jamie Baldridge (American).</li><li>21st Editions, 2009.</li><li>Limited to 17 numbered copies of which this is #4</li><li>Signed and numbered by Jamie Baldridge, John Wood, and the publisher, Steven Albahari.</li><li>With 12 signed hand printed pigment ink prints.</li><li>Bound in brass with a wax patina, black leather backed spine, with 1 additional free standing print, housed in a custom brown cloth clamshell box, the separate portfolio contains 12 signed free standing prints, housed in a matching brown cloth clamshell box.</li></ul> In 2009, fine press photography book publisher 21st Editions released The Everywhere Chronicles. Limited to 50 copies. The first 17 numbered editions also contain a separate portfolio of 12 signed free-standing prints that appear in the book. This copy #4 was presented to Lance Speer, 21ST Editions Contributing Editor and Director of Marketing, upon completion of the project. A Letter of Provenance from Lance Speer is included. 21ST Editions was awarded the prestigious 2009 Lucie Award for Book Publisher of the Year for their publication of The Everywhere Chronicles. The worldwide photography community pays tribute to the year’s most outstanding photographic achievements at the annual Lucie Awards ceremony. The Lucies recognize men and women whose life’s work in photography merits the highest acclaim by their peers. As 2003 honoree Douglas Kirkland said, "The movie industry has its Oscars and the photography community has its Lucies." From the Publishers: "To say that Jamie Baldridge is an imaginative genius is to state what will be obvious to anyone who views The Everywhere Chronicles, though readers of the tale he wrote to accompany the photographs may decide he is an escapee from the Mad Hatter's Tea Party. Using sumptuous colors and the most bizarre, sometimes zany, often mystical imagery, Baldridge reveals a world he has miraculously imagined. He then takes us on tour through the whimsical travelogue he has written to accompany his masterful photographs. His guidebook may be a little mad, but his photographs are no collection of elaborate jests and spoofs. They are the stuff of archetypes, and they transport us to mythic places of the mind, of memory, and of histories not yet written.” In a natural evolution, 21ST Editions (a unique publisher known throughout the world for its mastery of classic photographic processes such as platinum prints, hand-pulled photogravure and silver gelatin photographs) has utilized color pigment ink printing for the first time with The Everywhere Chronicles. This is due to the fact that we at 21ST Editions wish to stay true to the original and preferred medium of the artist, who works exclusively in pigment ink and who personally printed and signed each photograph himself. The result is their first color book, one that reflects our decade long commitment to creating the finest photography books in existence, incorporating the widest range of original processes available.

The Everywhere Chronicles

<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>, deluxe issue of The Artists of My Life, <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?Book%20Type=Signed%2520and%2520Inscribed" rel="noopener noreferrer" target="_blank">signed</a>, with a signed hand-pulled dust-grained gravure.<ul><li>Brassaï (Hungarian-French).</li><li>New York: Witkin-Berley, Ltd., 1982.&nbsp;</li><li>Quarto.</li><li>223 pages.</li><li>142 black-and-white photographs printed in offset duotone.</li><li>Number 140 of 150 copies.</li><li>Included print is signed by Brassaï&nbsp;in black ink to the mount.</li><li>Bound in the publisher's deluxe binding of patterned paper over oatmeal cloth-covered boards, titles to spine in silver, front board incorporates a folding section, secured with an acrylic pin, holding a mounted original gravure.</li></ul>&nbsp;&nbsp;The deluxe issue of Brassai's last book, specially bound and with a signed gravure print: 'Henri Matisse drawing from the Nude, 1939'. Brassai had a great gift for cultivating friendships and got to know many of the most significant artists of his day. He dedicated this book to Harper's Bazaar Editor-in-Chief Carmel Snow and her Art Director Alexey Brodovitch, with whom he worked closely for over 25 years beginning soon after the publication of Paris de Nuit (1932), and for whom a number of these photographs of artists were originally made.&nbsp;&nbsp;The artists featured in the book are Pierre Bonnard, Georges Braque, Salvador Dali, Charles Despiau, Raoul Dufy, Alberto Giacometti, Oskar Kokoschka, Henri Laurens, Le Corbusier, Fernand Léger, Jacques Lipchitz, Aristide Maillol, Henri Matisse, Joan Miró, Pablo Picasso, Hans Reichel, Germaine Richier, Georges Rouault, Jacques Villon, Daniel-Henry Kahnweiler, and Ambroise Vollard. The book ends with a short piece on l'Academié Julian, the renowned art school in Saint-German-des-Prés, founded in 1860 and attended by Gaugin, van Gogh, Edouard Vuillard, Matisse, and many others. Brassai was awarded the Prix de la Société des Gens de Lettres in 1983 for this book.&nbsp;

The Artists of My Life

Jimmy Page: The Anthology Limited Edition Book, <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?Book%20Type=Signed%2520and%2520Inscribed" rel="noopener noreferrer" target="_blank">signed</a> by <a href="https://www.sothebys.com/en/search?query=Jimmy%20Page&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Jimmy Page</a>.<ul><li>Jimmy Page (English).</li><li>Genesis Publications.</li><li>This is No. 1254 of 2,500 limited edition copies, each hand-signed by Jimmy Page.</li><li>Quarter bound in black leather with gold leaf blocking and gilded page edging, it is housed in a lined slipcase, inspired by the Selmer case of Jimmy’s first electric guitar, the 1958 Resonet Futurama.</li></ul> Hundreds of items from Jimmy Page’s private collection have been personally selected for this book. From iconic guitars and stage costumes to rare posters and vinyl pressings, from correspondence and diary entries to unseen photographs, every piece has been photographed and brought to life by narration entirely by Jimmy Page who tells the story of his phenomenal career.

Jimmy Page: The Anthology

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

Ralph Gibson, TASCHEN

Nobuyoshi Araki

Walker Evans

Robert Frank

Cor Jaring

Damien Hirst , Ian Jeffrey

TASCHEN, Norman Mailer

Ralph Gibson, TASCHEN

Ed Ruscha, Jerry McMillan

Stanley B. Burns, Elizabeth Burns

TASCHEN, Linda McCartney

Robert Frank

Edward Ruscha

Imogen Cunningham

Ed Ruscha, Lawrence Weiner

Ed Ruscha

William Klein

Robert Frank

David Bailey

TASCHEN, David Bailey

Peter Henry Emerson, Thomas Frederick Goodall

TASCHEN, Chris Ofili, Various Authors

After Jean-Michel Basquiat

Robert Doisneau, Prévert, Jacques, Robert Giraud

Miyako Ishiuchi

Annie Leibovitz, TASCHEN

Various Photographers

Jamie Baldridge

Brassaï

Jimmy Page

TASCHEN, Michael Muller

Edward Ruscha

Kishin Shinoyama

TASCHEN, Helmut Newton