Amsterdam: Van Zoetendaal, 2002
280 x 220mm., 24
pages. First edition of Kella's highly instructive investigation
into the nature of photographic portraiture. Using two studies: one
of individuals in hypnotic trances, the other a series of the backs
of heads, Kella reveals how the "dumb and still" medium of the
photograph challenges us to think in a variety of ways. A fine copy
in publisher's illustrated boards. Issued without dust jacket.
Berlin: Hackenhauer, 2000
214 x 182mm., 48 pages. First edition, one of an edition of 750 copies. Liebchen gives us an astute lesson in photo-reportage. With his settings set firmly to cliche, we are presented with a selection of sinister images shot in a somewhat shabby but entirely peaceable Tirana. As new in publisher's debossed and printed cloth. [Parr - The Photobook, vol.2]
Paris: CNAC, 1974
210 x 138 mm, 48
pages. First edition of Boltanki's inventory of the possessions of
an anonymous woman, one of a series of studies in which the artist
constructs a photographic record of a randomly selected individual.
As new, in publisher's printed wrappers.
Aachen: Magdanz, 2003
130 x 140mm. First edition of this small and beautiful production by Magdanz. Hardcover with photographically illustrated boards and matching dust jacket in plain cardstock box. Text in Polish. Signed by Magdanz. [Parr - The Photobook vol. 2]
London: Royal College of Art, 1968
The rare first edition of this major contribution to legibility studies by one of the most influential British communication designers and typographers. Urbane, prolific and unfailingly modest, Spencer was a reformer dedicated to improving standards of design in a field dominated by the printing industry's outdated conventions. But he was also an aesthete with a connoisseur's eye for the wild modernist innovations with letterforms and layout of the 1920s. Spencer launched the seminal publication, Typographica, in 1949, when he was 25, and edited, designed and sometimes wrote for it for 18 years. Equally at home publishing one of the first articles in Britain about concrete poetry (then an international phenomenon), or an illustrated study of the design challenges presented by Braille, he was a new kind of designer-editor, able to think both visually and verbally, and to fuse images and words in meaningful new relationships. Set on the IBM 72 Composer. A near fine copy in the original acetate dust jacket.
New York: Museum of Modern Art, 1945
The true first edition with corrections tipped in to front end paper and no mention of the later printing in the penultimate line of text. A fine copy in a very good+ dust jacket.
RUSCHA, Edward, Billy Al
Bergston, Peter Alexander, Charles Arnoldi, Larry Bell, Fred
Eversley, Patrick Hogan, Robert Irwin, Craig Kauffman, John
McCracken, Edward Moses, Kenneth Price, & DeWain Valentine
New York: Pace Gallery, 1970
Thirteen loose leaves inserted in a prinded cardstock folder. One title leaf in pink and thirteen leaves black on white, each devoted to a single artist and containing a photograph of the artist, a biography, and a photograph of one piece of the artist's work. Near fine.
New York: Wittenborn, 1947
Quarto, 159pp. First edition of the bible of modern graphic design. Inscribed by Rand in the year of publication dated and signed in full. When Paul Rand died in 1996, his career spanned six decades, three generations and numerous chapters of design history. By the late Thirties (Rand's early twenties) he had already started to transform commercial art and was being hailed by the country's leading trade magazine, PM, as the most influential young graphic designer in the country. Rand modeled himself on avant-garde artists such as Paul Klee, El Lissitzky, and Le Corbusier and it was largely through his efforts that European modern art and design - Russian Constructivism, Dutch De Stijl and the German Bauhaus - was introduced to American commercial art. Rand maintained an unfaltering adherence to modernism, and this, the first and most enduring of his books, stands as testament to the fact. A very good copy in a poor example of the iconic dust jacket.
Aachen: Andreas Magdanz, 2000
First edition. Hardcover with the image of a B-52 bomber debossed on front board; orange and black printed dust jacket. Text in German and English. A fine copy in dust jacket.
Cambridge & New York: Harvard University & The Museum of Modern Art, 1974
First edition of this lavish experiment in concrete poetry. This copy inscribed by Katayama on the shipping carton in pencil and in pen by Katayama and his wife, on the reverse of each of the three constructions. Shortly after his resignation as Mexican ambassador to India in 1968, Paz came across an airline timetable constructed of two superimposed and rotating discs. It's ability to divulge varying times, flights, and distances between the world's major cities let Paz to explore the effect such movement might have a poems purpose. In 1971 Paz was appointed Charles Eliot Norton Professor of Poetry at Harvard University where he first met Toshi Katayama already on the faculty of the department of Visual and Environmental Studies. The mutual respect that developed coupled with their shared interest in movement and transformation made the present work almost inevitable. Three full color, 287 x 287mm volvelle constructions designed by Katayama rotate to reveal different combinations of Paz's text. All is contained in a white paper covered cardstock box with the title printed along two sides. All parts in fine condition. Complete with original shipping carton. Uncommon
Koln: Walther Konig, 1994
2 volumes, 260 x 208mm, 96pp, 176pp. First and only printing. Both copies fine in publisher's embossed black cloth. Issued without dust jackets.
New York: Museum of Modern Art, 1947
First edition. Laid in is an invitation to the private opening on February 4th 1947. Occasional light foxing else a fine copy in publisher's printed wrappers.